This image shows the moment that Saturn starts to disappear behind the lunar limb as the nearly Full Moon occulted the planet. As seen next to the Full Moon, Saturn appears tiny in comparison, but one can still clearly see the globe and rings, with the rings appearing edge-on, and already partially hidden behind the shadowed lunar limb, near the terminator in the vicinity of Mare Orientale (lower left). The Moon was less than a day away from opposition with the Sun (indeed a partial lunar eclipse occurred some hours later) and Saturn is just over a week past its own opposition with the Sun. The image was captured on September 17, 2024 at 04:11:35 local time (PDT) from San Diego, CA. The image is a single exposure photograph (no compositing) that has been adjusted to normalize the brightness of Saturn and the Moon. The equipment used was a 6" Newtonian telescope (f/6 with focal length 916mm), coma corrector, and a Nikon D500 camera with an exposure setting of 1/250s at ISO 200.

 

EdgeIQ provides a full suite of device management solutions. Our local service running on the local gateway communicates directly with the device and delivers full configuration updates, software updates, and monitors the device health and wellness for correct operation. Visit: www.edgeiq.io/field-service

This is the result of my amateur processing of Juno's raw data. First, raw images of each color channel were equalized and normalized, then they were rotated, scaled and finally composed as RGB image. Resulting picture was slightly tuned (contrast, sharping and color correction). Software used: GIMP 2.8.3. Raw image source: www.missionjuno.swri.edu/junocam/processing?id=897

Date / Location: 12 July 2023 / Washington D.C.

 

Equipment:

Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8

OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset

Mount: iOptron GEM28-EC

Guider: ZWO Off-Axis Guider

Guide Camera: ZWO ASI 174mm mini

Focuser: ZWO EAF

Light Pollution Filter: Optolong L-eXtreme Dual Bandpass

 

Processing Software: PixInsight

 

Processing Steps:

 

Up to and including the use of Star Xterminator to decompose the processed image into a Starless image and a Stars only image the steps are identical to the processing steps applied previously to create the IC 1396 image in www.flickr.com/photos/vasu-jagannathan/53041975750/in/alb....

 

The difference between the previous image and the present one is the elimination of the cumbersome steps of decomposing the RGB image into individual channels and recombining them with different weighting parameters as determined by experimentation. Instead, I used Narrowband Normalization and a Generalized Hyperbolic Stretch as follows:

 

Starless image > Color Calibration > Narrowband Normalization > HOO Palette > Create an H alpha file (using blend mode 2, default blend amount and an OIII boost of 0.500) and an OIII file (using mode 1, a blend amount of 0.650 and an OIII boost of 2.000).

 

Intensity Transformation > Generalized Hyperbolic Stretch > Apply to the H alpha file and the OIII file from above.

 

Pixel Math > 60% Stretched H alpha file + 40% Stretched OIII file.

 

Apply Curves Transformation to taste.

 

Use Pixel Math to combine the processed image from above with the Stars only Image to get a Rejoined Image.

 

Rejoined Image > Topaz DeNoise AI > Topaz Gigapixel AI.

 

Use Pixel Math to combine 25% of the Rejoined Image with 75% of the Topaz AI Image to get a final image.

 

Christiania will probably soon be closed or "normalized". No matter what precisely happens after that, I'm pretty sure it newer again will be so charming and beautiful to take a walk around Stadsgraven on a sunny day as today...

 

Oh, and I wouldn't mind living in that house...

I find surgery a most marvelous human endeavor. Through what would seem unnatural experimentation, humans have come far in a process of betraying our anomalous anatomies. Surgeons "correct" these already unnatural, abnormal states of physical being to normalize structure back to obtain a more normal function, back to a normal physiology.

 

I don't think I've ever been so comfortable taking pictures as I was in the operating room. The pictures came out just as I imagined them, the lighting, atmosphere, and situation all felt natural.

 

I look forward to doing this again.

1. 91/365 weaving for peace, 2. 92/365 pink blossom, 3. 93/365 froggy swinger, 4. 94/365 red ferry, 5. 95/365 misty cloch, 6. 96/365 normalization, 7. 97/365 the struggle for independence, 8. 98/365 spring spur, 9. 99/365 beresford reflected, 10. 100/365 day 100, 11. 101/365 land shark, 12. 102/365 a is for apex, 13. 103/365 pork and apricot casserole, 14. 104/365 orient blossom, 15. 105/365 new city stripes, 16. 106/365 walking texting, 17. 107/365 reflection at dusk, 18. 108/365 portillo, 19. 109/365 lifeboat support, 20. 110/365 sauchiehall spring, 21. 111/365 army of cute, 22. 112/365 hot and cold rice, 23. 113/365 owl rising, 24. 114/365 barking mad, 25. 115/365 donau, 26. 116/365 tart selection, 27. 117/365 an older game of thrones, 28. 118/365 daffy's app, 29. 119/365 silver curls, 30. 120/365 southern view

 

Created with fd's Flickr Toys

This is my way of getting back at the Republican Party and at the announcer who pretty much ruined the Goldendale Rodeo for me.

 

The announcer abused his access to the rodeo arena's public-address system as follows:

 

1. He made a dumb-blonde joke when a blonde rodeo queen was in the arena. As the blonde rodeo queen was circling the arena with a brunette (his words, not mine), he asked something to the effect of:

 

Q: "What is a brunette to a blonde?"

A: "An interpreter."

 

2. He also made homophobic comments about a man in the arena who was wearing an earring - first, something to the effect that cowboys don't wear earrings and, later, that you'd better watch out if he gets close to you.

 

3, Also, as if channeling Trump in rally mode, the announcer let loose with this bit:

 

"Is anyone here from California?"

 

(A few claps from people in the stands, presumably from Californians.)

 

"Welcome to America," followed by "Now, get lost" or "Now, get the hell out;" I'm not sure which, since I was so stunned.

 

So f•uck him, f•uck the Republican Party and f*uck Donald Trump for normalizing this kind of offensive and polarizing behavior.

Photo 2/4. Bokeh and Effective Aperture of smaller sensors

A series of 4 photos demonstrate the relationships between Bokeh, background blur at a given subject to background distance between Nikon 35mm Full France, APS-C and CX (1 inch) sensors.

Subject to background distance: about 39 inches (about 1 meter).

 

Sensor size: Nikon 1 V1, CX (2.7x crop factor)

Lens: 35mm @F1.8 (equivalent to (35x2.7) = 95mm

Aperture equivalence: F1.8x2.7 = F4.8

Picture size normalized to 2400 x1800 pixel.

 

Result: Bokeh is less desire and background is busy, similar to the result of FF sensor with lens at F4.8. (Photo 3/4)

 

To achieve better Bokeh, you will require to increase the subject to background distance/separation due to small sensor.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

After decades of rapid and robust growth, the U.S. economy has lost some of its allure. GDP growth averaged 2 percent over the past 5 years, well below the 3 percent or more rates in the two decades before the global financial crisis. Productivity growth is at historic lows and population aging is weighing on labor supply. Some of the lackluster performance can be blamed on the drawn-out recovery, but there is growing evidence that market dynamism had begun to decline well before the Lehman crisis. Business startup and exit rates have fallen since the early 1990s and the labor market has steadily become less and less fluid. Are the gravitational forces of demographic change and productivity normalization finally pulling down growth, or is another innovative burst around the corner? The seminar examines the reasons behind the U.S. growth slowdown, the prospects for a recovery in productivity and dynamism, and the scope for policies to influence current growth trends.

This is part of an online campaign to #NormalizeNaturism.

Even in a crowd, you can see small islands forming around points of interest.

 

If you struggle to reach a "zen place" in your daily routine, you should know that meditation might actually be the key to a longer, fuller life. Multiple studies have determined that not only can meditation physically alter your brain for the better, but it will also offer immense emotional benefits that also translate into brighter moods and longer lifespans. Not quite convinced? Here's your guide to meditation as a source of longevity.

Understanding the Aging Process

For the most part, scientists are still trying to figure out why we age and what can be done about it. Researchers are making breakthroughs, however, and one of them concerns an enzyme called telomerase. These little molecules act as protectors for chromosomes that are constantly changing and reproducing within the body. Each time a chromosome is altered, the telomerase becomes more worn and less able to protect and strengthen it. Think about a shoelace and the plastic aglets that cover their ends.

The longer you wear the shoe, the more the aglets start to fray, exposing the lace within to all the elements.

The aglets are the telomerase. The exposed, fraying shoelace represents wrinkles and age-related disease.

Meditation as a Countermeasure

In a recent study by the University of California-Davis, a group of participants were taken to a meditation retreat and asked to meditate several hours a day for a period of three months. Their telomerase levels were then compared to control subjects.

The results were a rousing success for the mediators: Their bodies were boasting 30 percent more telomerase on average.

While telomerase can be artificially increased, as Harvard University did in a study where they injected telomerase in rats, this was the first time telomerase production was measured to be naturally induced without any chemicals or clinical assistance.

What made the difference?

Physical and Psychological Benefits

According to Elizabeth Blackburn, a Nobel-winning scientist, psychology has a lot to do with telomerase. The better you feel, the more telomerase you produce. It's just that a life filled with kids, spouses, pets, financial worries and work stresses isn't conducive to the kind of environment where telomerase can flourish.Another study from the American Journal of Cardiology supports these findings. Researchers took more than 200 seniors living with hypertension and divided them into groups based on blood pressure management techniques. For example, some took pills, others tried muscle relaxing practices.

After 18 years, those who practiced Transcendental Meditation had much higher survival rates than their peers. 30 percent less died from heart disease, 49 percent less were struck down by cancer and 23 percent less passed away overall. With more than 350 published studies reporting benefits that include reduced corticol (known as the “stress hormone”), normalized blood pressure, lower risk of heart attack and stroke, reduced anxiety and depression, improved learning ability and memory and reduced insomnia, the evidence is conclusive; meditation works.

Incorporating Meditation Into Your Life

Let's say you're sold on the idea of meditation as a life-lengthening practice. How should you start meditating at home? While there are a number of techniques you can choose from, the ones clinically proven from the above studies tended to focus on three things:

• Mindfulness, or creating a calm and stable state of mind by letting go

• Purpose, or re-affirming life goals and finding meaning in one's existence

• Perceived control, or understanding and accepting one’s surroundings and events

If you're serious about dedicating yourself to meditation and increasing your longevity, let these three tips be your starting point. Mastering this skill is easier said than done but with some effort and guidance you'll start generating that telomerase in no time! SOURCE BY ROB GREENSTEIN

To know more visit www.yogagurusuneelsingh.com Pic by Brian Crawford

U.S. Secretary of State John Kerry delivers a speech commemorating the 20th anniversary of the normalization of diplomatic relations between the United States and Vietnam, at the Daewoo Hotel in Hanoi, Vietnam, on August 7, 2015. State Department photo/ Public Domain]

All the shots are unique, you haven't seen them earlier and were not processed from published ones!

 

These shots were made with Pentax KF B&W Orange settings. Not IR as for shots with black sky to add a pinch of doom scenario or apocalyptic emotions. Time to find out what's good in traditional b&w shots. Both other series and this one were accompanied with CPF.

 

What I did was normalizing central gray scope here to make the shots look similar. I'm aiming to discover camera sets to make shots without need to post process them, if that would be possible, or with minimalist touches of my GIMP.

 

I did not touched black slider. Gray (+/-), white (-) and highlight (-) sliders only, plus conservative values for sharpness (only for compensation of camera soft settings): Radius: 1.000, Amount: 0.310 and Threshold: 0.110.

 

I ask you for comments what to check, what to correct and how,

and which compositions look better using such bright settings for shooting b&w with strong day light. Any suggestions are welcome and highly appreciated.

 

Thank you. :) Have a nice fun here. :)

This is a mean blend of the entire "Super Mario All Stars" game.

 

Blended using my normal averaging workflow for videos with G'MIC.

 

Final result normalized in GIMP.

 

My other music video blends can be found here: Video Amalgams on Flickr.

 

My other average blends can be found here: Amalgamations on Flickr.

 

my blog

U.S. Secretary of State John Kerry speaks with Vietnamese Deputy Prime Minister and Foreign Minister Pham Binh Minh at the Daewoo Hotel in Hanoi, Vietnam, before the Secretary delivered a speech on August 7, 2015, commemorating the 20th anniversary of the normalization of diplomatic relations between the United States and Vietnam. [State Department photo/ Public Domain]

View large on black

This is Bella's half-brother and he's very much like a son to me. He will be 11 in June, and has been a part of my life since 2001. He's growing up so fast these days, where does the time go? He's quite the baseball player, and I'm looking forward to the new season!

 

I've been sooo busy over the holiday, I really hope things start to normalize so I can visit everyone's stream soon!

 

"Free the child's potential, and you will transform him into the world" ~Maria Montessori

www.flickr.com/photos/60428361@N07/44338619755/

  

JOE STANKA UPDATE OCTOBER 16, 2018-- 2:18 P.M.

 

JOE STANKA RELATED COMMENTS: Received within the first six hours of the notice of his passing.

 

How many of these former KOM players are still living? It seems that there are more and more passing with each update. I wish I could have been aware of this earlier in life...a great piece of history is slowly fading away. Chris Crane—Columbia, MO

 

Ed reply:

 

Every former KOM leaguer is at least 85 years old. Only a handful were born in 1934 and they are all deceased. If he can make it until early 2019 Shannon Deniston will make it to 100 and be the first former KOM league to do it. He was a long time college football coach at places such as Pepperdine and Drake Universities.

 

Of the approximately 1600 guys to don a KOM league uniform only around 17% are still with us. There were about .05% of the former players who I could never find or determine their fate.

 

•

 

I'm very sorry to hear this. I know how fond of him you were just from reading the Flash Reports. Jack Morris—The necrologist for the Society of American Baseball Research.

•

Wow, John I know this one probably hits home personally that perhaps any others. God Bless Joe Stanka and John Hall--longtime buddies and friends!! Casey Casebolt—Lenexa, KS

•

 

I am sad to hear about Joe. He was a special human being. We are blessed that Joe crossed paths thru the KOM with many players and fans. May he RIP! Jim Jay—Kansas City A’s batboy 56-57.

•

 

Mr. Hall, Didn't Joe Stanka pitch for Duncan of the Sooner State League? Ernesto Wallerstein—Ernesto played in the Sooner State league under the name of Ernie Klein and is a native of Havana, Cuba now living in New Jersey

 

Ed reply:

 

Yes, he sure did. He split the 1950 season between Duncan and Ponca City. He said he figured out his ERA for that year and it was the worst in baseball.

 

•

I'm sorry to hear about Mr. Stanka passing. He had a most interesting baseball career and his comments, via you, were always entertaining. Jerry Hogan-Fayetteville, AR

 

Ed reply:

 

Another voice is gone and all the more reason it seems like it is time for me to put this project to bed.

 

Hogan’s reply:

 

Given the status of Mr. Stanka and your relationship with him - which seemed like a really good one, with humor and respect - I can see how you might feel that way.

•

Hi John, Sorry to hear about Joe's passing. None of us are getting any younger...

Be sure to share the link to SABR bio when you post his obit and other details.

sabr.org/bioproj/person/d3043c8c Rod Nelson--Society of American Baseball Research.

 

A short time later Mr. Nelson shared this note and link: Checking for an online obit, I saw this... www.thegeorgetowndish.com/thedish/display-us-japan-baseba...

 

Ed reply:

 

That Japanese fellow, shown shaking hands with Josh Stanka e-mailed me prior to that event. His way of expressing what he wanted left me a bit puzzled and I sent the request on to the Stanka family. Josh took it from there as he is in handling the funeral details for his grandfather.

 

Ed comment:

 

As a result of that event, in Japan, Joe and Jean sent me a couple of baseball cards Josh picked up there. That was during the summer and that was the last thing the Stanka’s sent me during Joe’s time on earth. However, if I would start listing all the things the Stanka’s did for me over the years it would fill a couple of pages. To say they were generous would be an understatement.

 

•

 

John did this gentleman play with or for dad when he played in Ponca City. It sounds like it was around the same time Boyd Bartley my dad was coaching there?? Let me know when you have a minute? Thanks, Judith Bartley Jordan—Judith lives in California

 

Ed reply:

 

Joe played for the 1950 team in Ponca City when your dad was there. He came back in 1951 the year George Scherger managed there. Your mom and dad knew Joe and Jean very well.

 

Judith’s reply:

 

Wow. Dad would be sad as well as mom! Thank you so much for sharing!

•

Thanks for passing this one on to me John. You've told me a few times that Joe was dealing with some health issues. Joe Stanka another former Coast League player that I saw pitch with the Solons. A quick check with some of the P.C.L. rosters from the fifties shows me that not many of the guys are still living. Joe Stanka pitched on some poor Sacramento teams. In my letter to him I had mentioned that one of his teammates was the best outfielder that I ever saw play in the Coast League and that was Al Heist. Joe agreed to that. Talk to you later and again thanks. Barry McMahon --Ladysmith, BC, Canada

_______

______

 

************

JOSEPH DONALD STANKA

 

KOM League Special Report

October 16, 2018

Death of a legendary KOM leaguer!!!

 

Sadly, this report is to inform the readers of the death of former Ponca City Dodger and later Chicago White Sox and Nankai, Japan ace pitcher, Joseph Donald Stanka. I mentioned him in the October 15, KOM League News Update as being one of eight men from the 1950 Ponca City Dodgers as still living. When I wrote that I knew that he was not well and was happy to say that he was still with us. Shortly after penning that line, he was gone.

 

Contact has been established with the family and the final arrangements and obituary will be posted on the KOM site as soon as it reaches me. This is where the information will be found. www.flickr.com/photos/60428361@N07/44338619755/in/

 

If any of you have your special memories of Stanka you are invited to share them and they will be included in future updates on this site.

************

2nd KOM League News Update for 10/15/2018

 

Former Carthage Cardinal and Ponca City Dodger

 

Obituary for Dwain P. Mintz

www.olsonfuneral.com/obituaries/Dwain-Mintz/#!/Obituary

 

Dwain Paul Mintz, 90, went to his heavenly home Thursday, October 11, 2018 and is now face to face with his Lord and Savior, Jesus Christ.

 

Dwain was born March 1, 1928 in Racine, WI. He was preceded in death by his loving wife Ruth, parents, Paul and Esther Mintz of Rockford, IL., and in-laws, Ole and Rachel Anderson of New Hampton, IA.

 

Dwain is survived by his four children, Gary (Nancy) Mintz of Glendive, MT, Lyn (Mike) Kraft of Menomonie, Joleen (Craig) Smith of Winona, MN, and Kimberly (Joe) Beaudry of Hudson, WI. He is also survived by ten grandchildren, Shannon, Marte, Heidi, Cole, KellyJo, Cory, Jill, Andrea, Becky and Haley and twenty-four great grandchildren. Dwain has one surviving brother, Verlin (Mars) Mintz of Bullhead City, AZ.

 

Dwain was baptized in 1928 at Trinity Lutheran Church in Racine, WI and confirmed in 1942 at St. Paul's Evangelical Church in Rockford, IL. He attended Rockford West High School and graduated from Bethany Lutheran High School in Mankato, MN. Dwain earned a Bachelor's and a Master's degree from Mankato State University, and a Ph.D. from Utah State University.

 

He attended Bethany Lutheran College from 1946-48 where he was an outstanding athlete. Dwain signed a professional baseball contract with the Cardinals and played in the 1947 season with their farm club. He also played in the Dodger organization before returning to Bethany in 1952 as the Vikings baseball and basketball coach.

 

Dwain married the love of his life, Ruth, December 23, 1950. They resided in Mankato, MN where he was a teacher and coached basketball and baseball at Bethany Lutheran College. In 1962 the Mintz family moved to Menomonie, WI where he continued his career as an educator and coach for 27 years. His athletic teams would go on to achieve high levels of success.

 

After retirement, Ruth and Dwain were snowbirds in Ocala, FL where they enjoyed golf, dancing, and spending time with friends. Throughout their lives they found much comfort in their church fellowship and felt the Lord's blessings in their lives.

 

Funeral services will be held at 11:00 AM Wednesday, October 17 at St. Paul's Evangelical Lutheran Church in Menomonie with Pastor Brett Voigt officiating. Visitation will be from 9:00 – 11:00 prior to the service. Burial will be in St. Paul's Lutheran Cemetery. Olson Funeral Home in Menomonie is serving the family.

 

Memorials are suggested to St. Paul's Evangelical Lutheran Church (1100 9th Street, Menomonie, WI 54751) or WELS Christian Aid and Relief or WELS Special Ministry.

 

Ed comments:

 

Back in the days of writing my books about the KOM league I spoke with Mintz a number of times. He played for the 1947 Carthage Cardinals and then returned as a member of the 1950 Ponca City Dodgers. There is a story about how he was beaned and the team didn’t even cover his medical bills. All they did for him was give him his release papers.

 

Surviving members of the 1947 Carthage Cardinals are: Nick Casaletto, Christopher Haughey and Hank Zich, that I can verify. John E. O’Grady and Robert C. Allen were also on that roster but I never found either of them, thus can’t verify their status. Casaletto is 92 and lives in Illinois. Christopher Haughey 93, who pitched for the Brooklyn Dodgers, in 1943 was from Queens, NY but was residing in Fremont, CA back in 2011, when we last conversed. Hank Zich 89 is still living in his native hometown of Omaha, NE. I believe O’Grady was from Ohio and Allen from the Joplin, MO area. If Allen is still living I think he would be 97.

 

Other interesting members of that 1947 Carthage team included Wayne Boyer who was the second oldest of the Boyer brothers, three of which played major league baseball. Ray Diering’s brother Chuck played centerfield for the St. Louis Cardinals, Alvin Kluttz’s brother, Clyde, caught for a number of years in the National league, Robert Mahoney had a couple of cups of coffee in the American league, Roger Vander Weide was in the ownership group of the NBA’s Orlando Magic and Eddie Vargo was a long time National league umpire.

 

Surviving members of the 1950 Ponca City Dodgers with whom Mintz was a teammate are: Harry Crandall, Loren Doll, Clyde Girrens, Bob Henne, Charles H.Key, Roger Rossier, Joe Stanka and Ernest Jordan Jr. I could say a lot of those guys as well but will refrain from doing so at this time. Inquire if you have any questions about these guys. They were all very successful in their own right ranging from playing basketball for Adolph Rupp and Hank Iba to playing in the major leagues and donating millions of dollars to construction at USC in Los Angeles.

_________

_________

 

Comments from a very faithful reader

 

Was preparing a column for Wednesday about hard throwers I had seen or heard about. The name of Ron Necciai came to mind because I remembered him being the only person in professional baseball to strike out 27 batters in a 9-inning game. In researching him. I discovered he broke the record of 25 set in 1939 in a Northeast Arkansas League game while pitching for Paragould.. He later fanned 30 in a 15-inning game – in 1941. Same team, same league. Assume you’ve written about those games somewhere along the way. It was the first I remembered reading about them, however.

 

Necciai followed his 27 strikeouts with a 24 K game. He had only two balls put into play. One was an error. The other was a ground ball to the first baseman. He later fanned a hitter and the catcher dropped the ball, allowing Ron to record the 27th strikeout. He also walked one and hit one. Not perfect. He went to the Pirates in September and finished the year at 1-5, went into the service, suffered from ulcers, came back to baseball, hurt an arm and that was that.

 

And, of course, the column will tell the tale of Steve Dalkowski. I once had him in a tryout camp when I was a part-timer with the Pirates. He was out of the game and had come to Offutt AFB near Omaha to visit a friend. He saw a Pirates tryout camp advertised nearby and thrilled everyone. He said he hadn’t thrown for a while and wanted to know if he still had anything left in the tank. Even with a bad hose and out of shape, he was the fastest guy in the camp. We had no radar guns then, but it didn’t make any difference.

 

Need breakfast one of these days. Keep on keeping. I hang on your every word. Truly enjoy your digging.

 

Ol’ Clark—Bill Clark is a former big league scout for the Reds, Pirates, Braves, Padres and Pilots (yes, the Seattle club.) We can have breakfast since we both live in the same town.

________

________

 

DO I HAVE TO SIGN UP?

 

That question came from Mary Lou the wife of Paul Hoffmeister the former Carthage Cub among other teams in a long career. Mary Lou was referring to the Flickr site where all these reports are posted. All anyone has to do is click on the URL and they are there. To post an answer on the Flickr site you have to sign up with Yahoo.com but I’d rather folks send their comments by e-mail.

________

________

 

************

KOM League News Updates for 10/15/2018

•

Another great e-mail from you John. I'll be looking for more in the future and I hope we keep in touch. Hank Chott—Born in Chicago, played for the Iola Indians in 1950 and now resides in Glendora, CA

_________

________

 

“Seventy-two years ago today Oct 15th 1946 Enos Slaughter scored from first base on the single. I have a way of remembering that date.” The foregoing note reached me from Ladysmith, British Columbia, Canada. That was Barry McMahon’s way of telling me today is his birthday. And, in memory of “Eno” here is a link to his most remembered play in a long career. www.youtube.com/watch?v Here is a short version for those of you in a hurry. www.youtube.com/watch

 

________

________

On this date in history the following applies to former KOM leaguers.

 

Charles Augustus Matzen—B. San Francisco, CA 1933. Pitched for the 1952 Bartlesville/Pittsburg Pirates. He passed away 8/16/2018 in Anthem, Arizona.

 

Norman Dale Ward—D. Irvine, CA in 2001. On the roster of the Carthage Cubs in 1951 and Blackwell, OK Broncos in 1952. He was born 1/5/1933 in Meramec (Eureka, MO). He was the younger brother of former big leaguer, Preston, of the same last name.

 

Howard Leonard Obergfell—D. Willingboro, NJ. 1996. Pitched for the 1948 Carthage, MO Cardinals. Born in Egg Harbor, N. J. 12/16/1927.

 

Millard Cole “P. J.” Harmon—D. 1997 Independence, MO. Played for the 1947 Chanute, KS A’s and the 1949 Pittsburg, KS Browns. Born 1/11/1926 in Horton, MO. In 1947 he was hit in the head with a pitch. Upon reaching first base he was in a daze. The first base coach told him to go from first to third on any ball hit to the outfield. He did just that. When the ball was hit he ran across the field crossing the pitchers mound on the way. When reaching third base he asked the coach if that is the way it should have been done.

 

Donald Frederick Hasenbalg—D. 2008 Tunkhannock, NJ. Member of the 1952 Independence, KS Browns. Born 4/25/1933 Paterson, NJ.

 

Harold Thomas Guinn—D. 1993 Solgohachia, AR. Member of the 1952 Iola, KS Indians. Born 11/24/1928 in Center Ridge, AR. Social Security has his date of death as October 15 whereas his tombstone has it as October 30 as does his Veteran’s Affairs file. Either way I learned something in taking another look at his life. He wasn’t a Catholic priest as some claimed. He married Wanda Tiner on 12/16/1955 in Contra Costa, CA. In his son’s obituary it referred to his father’s nickname as being “Mean Hog.” That had to be like someone calling a 600 pound man “Tiny.” Tom Guinn was a mild-mannered person.

 

Joseph G. Marsello—D. 2010 Danvers, MA. Played for the 1948 Miami, OK Owls. Born 12/29/1927 Lynn, MA.

 

James Robert England—D. 1998 Peoria, IL. 3rd baseman for 1951 Pittsburg, KS Browns. Born 9/2/1932 Lewiston, IL.

  

KOM League News Updates for 10/14/2018

If anyone sees this let me know. It will determine if this format is working.

•

John, just a word of thanks for your knowledge of baseball which you have freely shared. Admittedly, I knew nothing of the KOM league before meeting you & buying a copy of Majoring In The Minors. Big John Dingley was a good friend of mine, & as I recall you did a book signing at his baseball card shop, probably late in 1996. While I didn't know much about the league or most of the players, I found the book interesting, as I did your newsletter & more recently, the email Flash reports.

 

For some reason, your way of writing always makes the stories interesting. I've always been a Cardinal fan, especially Stan Musial & those of his era, & while not a great Mantle fan, I also enjoyed "Before the Glory" book. I also enjoy your excellent photography. Thanks again.

Bob Moore—Columbia, MO

 

Ed comment:

 

Big John Dingley operated a baseball card shop at the Midway Truck Stop on I-70, west of Columbia, MO. It was called Midway for it was and is the same distance west to Kansas City as it is east to St. Louis. Truck stops, abandoned warehouses, old telephone booths, highway rest stops and places like that were all potential sites for selling and signing my non-bestsellers. Actually, supermarkets became the best source for getting rid of the three books I have written. As in the case of meeting Mr. Moore it is hard to imagine I’ve been at this “gig” for all those years. I owe a lot of thanks to those who put up with it.

______

______

 

OCTOBER 14 MILESTONES

 

This date in KOM league history marks the birth, wedding anniversary, last contact established or death of these former players;

 

John J. Girrens Jr.- B. 1926—Wichita, KS and member of the 1948 Bartlesville, OK Oilers. Died 4/17/2018 in Colwich, KS

 

Thomas J. Guderian –B. 1933 in Washington state and member of 1952 Blackwell, OK Broncos. Lives in E. Wenatchee, WA

 

Serapio Charles Mentado-B. 1924 in Guanalcoa, Cuba and member of 1952 Blackwell, OK Broncos. Deceased but place and year is unknown.

 

Burl F. Moffit—His last contact with me was on this date in 2012. Member of the 1949 Independence, KS Yankees. He was born in Fagus, MO but now resides in a nursing home in Qulin, MO.

 

Scott Olin Mann--B. 1936 in Neosho Falls, KS. Batboy for the 1947 Iola, Kansas Cubs. Last known residence-Iola. KS. Note: Shortly after writing the above I found that Mr. Mann, now lives in Georgetown, TX.

 

Bennie Maxwell Lee- B. 1929 in Treece, KS. Member of the 1950 Miami, OK Eagles. Was a boyfriend of Merlyn Johnson prior to her becoming Mrs. Mickey Mantle. Died 2/25/2015 in Derby, KS.

 

Paul Samuel Perrin- D. 2013 in Tulsa, OK. Member of 1947 Chanute, KS Athletics.

 

Donald Andrew Tisnaret—Married Laura A. Sylvia on this date in 1950. He was a member of the 1947 Ponca City, OK Dodgres.

 

Thomas James Caciavelly—B. 1925 in St. Louis, MO. Member of the 1946 Pittsburg, KS Browns. Later owned largest Ford dealership in St. Louis, MO. Died 12/12/1990

 

Robert Ralph Carter-B. 1929 in Maryville. TN. Member of the 1948 Pittsburg, KS Browns. Died in 1980 but not on this date.

 

William J. Hopkins—D. 2016 Castle Shannon, PA. Member of the 1949 Ponca City, OK Dodgers. Born 3/10/1929 Pittsburgh, PA.

 

Herman Lloyd Humble—D. 1996 San Antonio, TX. Member of the 1951 Ponca City, OK Dodgers. Brother to Hall of Fame football player, Weldon, of the same last name. Born 9/3/1926 San Antonio.

_______

_______

 

KOM League News Updates for 10/13/2018

 

If anyone sees this let me know. It will determine if this format is working.

___

John, While it must have been a good run for you I have to confess a bit of a lump in my throat as I read your last bit of news. Although I came pretty late to the party, it has been a blessing to have bumped into you and learned more not only about my uncle, but the great pastime as it was played out in the bygone years. I truly have a much greater appreciation of the contributions of those you wrote about, and the memories you have worked so hard to keep alive.

You are a great man, and I only wish we were all a bit younger, say Sandlot age.

Emil Hagopian--West Bloomfield (Detroit) Michigan

 

Emil’s cousin, Emil Federow, was a teammate of Mickey Mantle with the Joplin Miners in 1950. That is an item that is never shown in the record books. However, Federow, was in the service in 1949 after a stint in the minor leagues in 1948. He was with Joplin for a short time in 1950 before winding up his career with brief stints in 1951-52 in the Evangeline league. Shortly after the conclusion of the 1952 season he was killed in an automobile accident on November 9. Many Flash Reports have mentioned Federow and his family’s search to document that Emil and Mantle were once teammates. I was able to document that for Emil Hagopian and he has been a follower of these reports ever since.

______•

John Hall, I realize there comes a time like this and you have presented your case well, as I would expect. But I just want you to know how truly heartbreaking this news is to me, a guy who read about you in the KC Star one Friday many moons ago and showed up with my son at the Red Bridge Library and was immediately mesmerized by your obvious knowledge of the old KOM League. Having been born and raised in Chanute and having attended many games as a small boy with my Uncle Ralph Chapman and his lovely wife Aunt Edna, I was definitely familiar with the League. And then I told my sis about it, who still resides in Chanute, and she remembered one aspect herself---all the teenage girls at Chanute High School were always "gaga" ove long, lanky, good-looking Bernie Tye.

 

But then the ultimate connection eventually came up when you mentioned the OLD Coach himself, Mr. Sam Dixon. What wonderful memories that rekindled and they still remain wonderful memories, even with both Sam and Babs now deceased. Sam was an insurance agent in Chanute and also a long-term manager of the American Legion team. Through a friend who played on the team I became the team batboy, statistician, etc for Sam and have more great memories as a result---like the 4th of July weekend tournament in Springfield, Mo where we rode in "Old Yeller", the AL converted hearse, with the rear window rolled down and threw M-80's(the REAL ones, not the piddly ones of today) out the back window while singing Sam and Babs' favorite song, "Goodnight Irene". Babs was busy watching Sam, as he loved to talk to us, even when driving, as he turned around in the seat to speak to us in the rear seat!! She was definitely a great co-driver!!

 

We had some great players on those teams, but the absolute top of the heap was Paul "Junior" Lindblad, whom you and I and Don Papst have discussed many times. What a shame the sad story continues with the Lindblad connection to the alzheimer's saga. Not sure you know but now his mother, Paul himself, two brothers, and daughter have succumbed to the deadly disease. Latest news I have is that his second daughter has now been admitted to a care home with the early stages. And the story unfortunately does not end there. (Some information provided here is not being shared as it is confidential Damned sad it is.

 

John my man, I will go to the Flicker site if that is my only option. But it will just never be the same and want you to know that.I must also say to you I have worried and wondered for many months about your "illness" and know you have not chosen to share any details but I sense this decision definitely is compounded by that issue. Whatever, God speed you in good health for many, many years. Of course, you have the wonderful advantage of a faithful, long-term loving nurse, that Noel lady-------God Bless you both!!!

I have many great memories of what you have shared over the years, but I am just daily truly amazed at the number of players you have been able to track down and even contact---the WORLD needs more John G, Halls

Your Pal and Loyal Reader

Casey Casebolt

Chanute High School--1961

Chanute Junior College--1963

Kansas State College--1966 (Now the great Pittsburg State University----Go Gorillas!!)

______•

John: Alas, all good things must come to an end. It has been obvious you have put your heart and soul into these weekly insights into the Kansas, Oklahoma, and Missouri League memories. I think they have been worthy of recognition by the Pulitzer Prize Committee.

I'll always be grateful for meeting you and obtaining that great book on Mickey Mantle. That book and your stories were always very meaningful to me because of my roots in Anderson, and Neosho, Missouri. Take care and God Bless you John, Leo Downey.

______•

John, What an amazing job you have done for many, many years. I just printed your last report. I have books downstairs with the early ones and although I don’t have a lot in between I thought the last should be there. My dad loved these KOM Reports so much. He read and reread them. He is probably saying a job well done. I say thank you for all you have done for so many for so long. Cindy Newbill-Kansas City metro. Cindy's dad, Bob, was a member of the 1949 Independence Yankees and a short time member in 1950. He was a special person and even declared I was the little brother he never had. That was the biggest honor I received in all my time writing about the KOM league.

_______•

Thank you or all the memories you have kept alive, and for the discoveries you brought to light for many other families. Bruce May Parma, OH—Bruce’s father, Wilbert was a member of the 1946 Carthage Cardinal pitching staff until a sore arm ended what was a promising career.

_____•

Duly read & forwarded. Neil said “no way old man, get your ass back to the computer & keep turning out those gems”. Me, too. Just don’t lose my email address. Dave in Austin, Texas.

 

Dave and the late Neil Gibson were Army Ranger were buddies. Dave claims to have a contact with Gibson and he relays my reports to him and receives Gibson’s input regarding those and sends it to me.

________•

 

Looks like my old catchers mitt I used in high school and while playing on Browns semipro team that Shag and Sonny Call played on. Still have it and my old catching gear. My Great Grandson wants it after I’m gone!! Merle Southern—lives in Rolla, MO during the summer and Florida in the winter. We were raised a few blocks from each other in Carthage, MO.

__________

Thanks for the stories. They have given me lots of enjoyment. I sad to see them go but I understand. Thank you for sharing. Bruce Hayse—Tallahassee, FL.

______•

Thank you John for introducing KOM to me. I have enjoyed read about the league and the players even though I never knew them. History is important and without your dedication many would have never known about baseball that was played in our own states at the ground level of America's past time. We always hear about the MLB players and their glory but not the ones that did not make it to the big show but that were so important to small town America. In time when America was trying to get back to some essence of Normalize that they once had. Again, thank you, Frank Houston—Columbia, Missouri via Oklahoma

______•

Thanks for today's Report. That catchers mitt is an interesting collectible and John you're the one that should have it. I will be checking out that Flicker site you can count on that. Barry McMahon- Ladysmith, BC, Canada

______•

Item from Mazi Hamric about her husband, Bob’s induction into Southwestern College’s Hall of Fame. “John if you want to see the little video you can click on Bob's name on the site below. www.southwesternpirates.com/general/2017-18/releases/2018...

 

**********

 

The KOM League

Flash Report

The end of another phase

October 11, 2018

_____________________________________________________________

 

When the decision was made to research the defunct KOM league, the first family I ever visited was Buck and Billie Walz in Jefferson City, Missouri in 1994. I wasn’t sure how I would be accepted or what they thought about talking with some “kid” who was inquiring about events that went back to the founding days of the league.

 

Buck was a 1946 graduate of Jefferson City, Missouri high school and Charlie Grimm recruited him to catch for the Iola, Kansas Cubs for their first year in the newly formed KOM league. A lot was written about him in my first book which included stories about how he stayed on at Iola through the 1948 season.

 

As my first visit was concluding, with the first former KOM leaguer I had seen in 42 years, Buck excused himself and said he’d be right back. Upon his return to the living room he had his Rawlings catcher’s mitt, in hand. It had a rip in the pocket of the mitt where thousands of fastballs and curveballs had slammed into it over its KOM league days. As I examined the mitt Buck explained that he had kept it nearly 50 years hoping that someday he could pass it along to someone who would appreciate it, for he had no family members to whom he could pass it on. He asked if I would like to have it and that is how it came to hang on the wall of my office for almost a quarter century. This is the photo of that catcher’s mitt. www.flickr.com/photos/60428361@N07/44338619755

 

Over the years I conversed many times with Buck and Billie at KOM league reunions and at occasional chance meetings at restaurants in Jefferson City and Columbia. Both Billie and Buck were avid golfers and in their twilight years moved to Mesa, Arizona and lived next to a golf course. When they weren’t playing they were watching it on TV.

 

Billie died in Arizona in 2015and Buck moved back to Jefferson City. obittree.com/obituary/us/missouri/jefferson-city/freeman-...

 

We continued to communicate by e-mail and had every intention of meeting from time to time at Oscar’s Café in Jefferson City for lunch. It is in one of the late 2017 Flash Reports where Buck told me his old Iola Indian buddy and fellow golfing partner had run across an item at an Independence, Missouri garage sale. The item no one wanted was an old baseball signed by 18 or so people who no one at that garage sale ever heard of. Buck’s friend, Bill Hahn, recognized Buck’s name and sent it to him wanting to know more about it. Hahn had played at Iola, in 1950 so wasn’t familiar with the other names on the ball.

 

In the last call I ever received from Buck he told me he wanted me to have the baseball Hahn had given him from the Independence, MO garage sale. I asked him the names on the ball and he replied that when he passed it on to me I could figure that out. It would then be up to me to figure out if it was from the 1946-47 or 48 team. However, before Buck could make it out for lunch he said he had to make his annual Christmas trip to Arizona and we’d get together on his return.

 

Christmas came and went and Buck came home from Arizona. He’d send me comments on a regular basis about the photos I shared of my great grandkids. At this juncture of his life he was more interested in the beauty of young children than his faded memories of a baseball career from his youth. Things sort of bumped along for all of 2018 with health issues of both Buck and the guy writing this article. In early September I was having an estimate made by a flooring company employee who told me how much he loved baseball. He handed me his business card and the fellow’s name was, of course, Walz. Had it not been you wouldn’t be reading this story. This young man, 66 years of age, never knew that his second cousin, Buck, had ever played professional baseball. So, after the kitchen floor replacement estimate was done I told the salesman I had something to show him.

 

Down the stairs we went to the KOM league headquarters and old book repository. Once in the office I pointed to the catcher’s mitt displayed on the wall and the much younger, Mr. Walz, was very surprised and impressed seeing the old mitt. By the time his official reason for the visit to my house was completed, the cost estimate, I had accomplished one other thing. I had rid myself of another “Mickey Mantle—Before the Glory.” book.

 

A couple of weeks later September 11 was upon us. That was a fateful day in 2001 and it was repeated again 17 years later. I wasn’t aware of why it was fateful in, 2018, for another couple of weeks. This was the news.

 

Obituary for Buck Walz

freemanmortuary.frontrunnerpro.com/book-of-memories/36087...

 

Mr. Howard L. “Buck” Walz, age 90 of Jefferson City, Mo., passed away on Tuesday, September 11, 2018 at Capital Region Medical Center.

 

He was born on June 13, 1928 in Jefferson City, a son of the late Carl and Sophia (Kuper) Walz. He was married on September 19, 1947 in Warrensburg, Mo., to Billie Jean Shaw, who preceded him in death on August 22, 2015.

 

Buck was a 1946 graduate of Jefferson City High School. After attending a year of Junior College, he enlisted in the United States Army, serving during the Korean Conflict.

 

He owned Robertson Electronics in Jefferson City for over 38 years until retiring in 1988.

 

Buck played baseball while in the United States Army and, later, in the Major Leagues for the Chicago Cubs organization for three years.

 

Buck and his beloved wife Billie were both avid golfers. Buck took pride in the fact that he had made nine holes-in-one. Long time members of the Jefferson City Country Club and First Baptist Church, their many activities centered around spending time with friends and family. They spent their retirement years travelling, golfing, and sharing time between Jefferson City and Sun City West, Arizona.

 

He was admired as being kind and generous, always willing to help others. Family and friends alike will remember Buck as a devoted husband, a loyal friend, and a loving member of his family.

 

Survivors include: two sisters, Wanda Alberts of Jefferson City, Mo. and Delores Shirley (Lyndal) of Eugene, Mo.; a sister-in-law, Judy Walz of Jefferson City, Mo.; a niece, Cherie Hallert (Marc) of Walnut Creek, Ca., whom he loved as a daughter; and multiple generations of adoring nieces and nephews.

 

He was also preceded in death by three brothers, Carl Walz, Jr., Arthur Walz, and Franklin “Pete” Walz.

 

Visitation will be held from 10:00 A.M. to 11:00 A.M. on Saturday, September 22, 2018, at Freeman Mortuary, 915 Madison Street, Jefferson City, Missouri. Graveside services with military honors will be conducted at Hawthorn Memorial Gardens immediately following the visitation, with the Reverend Dr. Monte Shinkle officiating.

 

In lieu of flowers, memorial contributions are suggested to The Boys and Girls Club or to a charity of the donor's choice. To send flowers to the family of Buck Walz, please visit our Heartfelt Sympathies Store.

 

Ed comment:

 

The obituary of Buck Walz was most likely written by one or both of his sisters. They had his sequence of military service and professional baseball career in the wrong order and the Iola Cubs weren’t a major league team in the KOM league. But, in that era some of those Cub teams might have had a tough time competing even at the Class D level. Okay, I joke a bit, but not too much.

---------------------------------------------------------------------------------------------------------------------

The end of an era

 

For 20 years there has basically been at least a Flash Report prepared and sent weekly to the appreciative as well as those not so exuberant about having their e-mail file clogged up with the memories of a once young boy, now known as “An old geezer,” who hung around the Carthage Cubs ballpark in 1950-51.

 

As I absorbed the news of the death of Buck Walz it came to me that “enough is enough.” For some time I have contemplated when to bring the weekly drivel about the old league to a merciful conclusion. Since Buck Walz was the first KOM leaguer I personally visited, with regard to the writing some memories of the old Class D circuit, I thought his passing would be a proper time to pull the plug.

 

There is enough material in the public domain to keep anyone who is interested in the old league occupied for about as long as the old league operated—seven years.

 

For 16 years the “KOM League Remembered” newsletter was published, stamped, addressed and delivered to the United States Postal Service to fold, spindle, mutilate and sometimes deliver to the address intended. When that publication was no longer feasible to publish it went away without any forewarning and none of the recipients of that missive seemed to miss it at all.

 

Thus, I’m sure when these weekly reports aren’t in a person’s e-mail inbox, they, like the old newsletters, will not be missed. However, there is a chance that some newsworthy items might appear from time to time so I’m making an accommodation for that. For a period of time, to be determined by the number of times the site is accessed, I’m going to post some KOM League news on Flickr. It will be a format that will contain stories as they occur. For example that site will have articles and they will be dated as to when they were posted to the site. It may well turn out to be a long document but the latest article will always be the first one in the narrative attached which will preclude the reader from having to re- read an earlier posting.

 

For ease of searching the KOM league news will always be under the first photo found on the Flickr site at: www.flickr.com/photos/60428361@N07/ This edition of the news will be found there. Then, as stories come up they will be added.

 

If the foregoing explanation is about as clear as thick mud feel free to ask for a clarification. From this report forward it is up to the initiative of each reader to check out the Flickr site to see if there is any items added.

 

Thanks for allowing me to share Flash Reports in the past and I trust you will continue to follow whatever may transpire from this day forward through the process just outlined.

______________________________________________________________________

In 1995 I was living in Hanoi, which was a rapidly changing place that year. When I arrived in January the embargo had been lifted a few months before but we hadn't yet normalized relations, so there was no embassy. A couple months later a liason office opened, and then in August the embassy opened in Hanoi in an unfortunately ugly building on what was then the edge of town (town has now engulfed the neighborhood and kept on moving). I remember it had lots of blue glass.

 

One of the few US based orgs that had been doing work in Vietnam pre-embargo lifting was VVA (Vietnam Veterans Association). One of the things that they had worked on or contributed heavily to (I can't remember if they were actually running, supporting, or funding) was an orthopedic hospital in Hanoi. I think the original idea was to create a place where artificial limbs could be made for people who'd lost limbs in the war or to land mines in subsequent years. They had their own workshop where a small group of young men moulded plastic into legs and arms.

 

Someone mentioned the hospital to me at a party, so when I bumped into the guy who was running VVA in Vietnam at some function not long after that I asked if I could go take some pictures. The ones I took in the workshop are kind of boring and I wasn't terribly happy with them, but one of the workshop guys said I should speak with the doctor and introduced me to him. I don't remember his name, but I vaguely recall that he had been born in Vietnam and emigrated to the US when he was young. He had an appointment with this little boy and his grandfather (the boy needed braces on his ankles to keep him from walking on his toes all the time). The little boy couldn't decide if he was more curious, more wary, or more shy of the foreigner. I took a string of pictures of him, over the course of which he began hunkering down, kind of folding up out of self-consciousness. I stopped shooting, but his grandfather began to lecture him. "Sit up straight! Let the foreigner take your picture! What's wrong with you!" Then the grandfather looked at me and said, "Don't stop! Take more pictures!" I took a couple more, but I felt bad that the boy was sort of wigged, and made my excuses and left.

U.S. Secretary of State John Kerry delivers a speech commemorating the 20th anniversary of the normalization of diplomatic relations between the United States and Vietnam, at the Daewoo Hotel in Hanoi, Vietnam, on August 7, 2015. [State Department photo/ Public Domain]

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.

  

After being up most of the night, I realized I had taken too many great photos of the eclipse to use only the one shot at totality.

 

Each image of the moon was taken at a different exposure, normalized in Lightroom and merged together in Photoshop.

 

Images were taken using a 5", 650mm Newtonian Telescope with a hand operated mount.

A candidate for wall paper contest.

 

Raw processed with photivo with slight anisotropic filtering, unsharp mask and vignette. Main effect here was created after raw processing in gimp/G'Mic with GMic local normalization.

 

1900x1200 original available

 

Photo was taken on a bus stop in Helsinki

 

##################

Please distribute this image freely under attached Creative Commons license. You may not use, abuse or distribute this image under any such license that you pay of, namely you may not use or distribute this image under Finnish Copyright Groups Digilupa bit.ly/ozwGtt or corresponding license.

##################

History

The church with the downed tower

History of joy and suffering of an old christian time witness of Vienna

The Minoritenkirche in Vienna is one of the oldest and most valuable artistic churches of the city. It is therefore not surprising that it also experienced a very eventful history. In all probability, the Franciscans were - how the Friars Minor (Thomas of Celano: "Ordo Friars Minor" ) also called on account of its founders personality, called by the Babenberg Duke Leopold VI the Glorious, in 1230 into the country. Here he gave them a lot, probably with a church (probably dedicated to St. Catherine of Alexandria), before the walls of the city, between the Scots Monastery (Schottenstift) and the ducal residence. It was not until 1237, and in 1271 the entire area was included in the extended boundary wall. The Minorite Barnabas Strasser says in his chronicle from 1766 that Leopold had asked on his return from the Holy Land in 1219 Francis in Assisi to the relocation of some brothers to Vienna, which was then carried out 1224. The Franciscans, however, are detectable only in 1234 by a bull of Gregory IX . to Frederick the Warlike, the last reigning Babenberg, by the year 1239 there was already the Austrian province. The above-mentioned chapel near the present Minoritenkirche the brothers have now expanded and dedicated it to the Holy Cross ("Santa Croce"). In 1251 the dedication was by the Bishop Berthold of Passau. In addition, the friars began to build a monastery, the 1234 is mentioned in a document (the monastery comprised finally the Ballhausplatz, Minoritenplatz and parts of the Hofburg and the Public Garden) . Of the original Romanesque building stock nothing has been preserved. Especially the great fire of 1276 has cremated large parts of the Convention.

However, the strong growth of the Friars Minor now living in Vienna made ​​a new building of the church and monastery necessary. Already laid by King Otakar II of Bohemia in 1276 the foundation stone for the new building of that temple which was now already on the present site of the church, the monarch also promised tax exemption for all who had contributed to the building of the church.

First stage of construction (beginning in the third third of the 13th century.): So he decided to build new church and convent, but by the death in battle of Ottokar in 1278 at the March Field (Jedlespeigen close Dürnkrut) delayed the construction, thus only after the turn of the century it couldbe completed. The embalmed body of Ottokar remained 30 weeks in the chapter house of the monastery until it was transferred to Znojmo and finally to Prague. The king's heart is buried in the original Chapel of St. Catherine, which was now newly assigned this name because the appropriation should be reserved to the Holy Cross of Christ, the new church and the convent . This newly built house of God was given the shape of a two-aisled nave with zweijochigem (two-bay) long choir (chancel), which closed with the five sides of a decagon. This long choir, the one 1785/86 and changed into a five-storey residential building, was canceled in 1903. In connection with the subway construction (1984-86), although archaeological excavations took place, it also laid the foundations of the former free long-choir, but most of the foundations of the old presbytery were destroyed at the same time. - The first church had a rood screen, even at the turn of the 15th/16th Century the still resulting image of the Saint Francis was attached by an unknown artist. Just from this first phase, we know by the Baroque Minoritenchronik (chronicle) first mentioned the name of a builder, namely brother Hans Schimpffenpfeil .

Second stage of construction (after 1317-1328 ) Blanche (Blanche) of Valois, the wife of Duke Rudolf III . ( 1307) and daughter of Philip the Fair, in 1304 decreed in his will to build a chapel in honor of her grandfather, the Holy King Louis IX. of France (canonized in 1297) and introduced for this purpose in 1000 available books. However, the project was realized only under Isabella (Elizabeth ) of Aragon, wife of King Frederick the Fair (1330 ). The chapel dedicated to their relatives canonized in 1317, St . Louis of Anjou, son of Charles II of Naples, great-nephew of Louis IX . of France and Franciscan archbishop of Toulouse (1297 ); it was first a self- cultivation in the NE (north-east) of the two-aisled nave Minoritenkirche, until the third construction phase it was integrated into the nave (now the north aisle with Anthony's Chapel). In 1328 the chapel was apparently completed because in 1330 the founder - was buried in the chapel of Louis - in terms of her testamentary disposition. The tomb of Queen Isabella stood in the middle of the Kapellenjochs (chapel bay) in front of the apse. The tracery show similarity with those of the Albertine choir of St. Stephen (built by Duke Albrecht II [ 1358] ) as well as with that of the Sanctuary Strassengel near the Cistercian monastery Rein near Graz (around the middle of the 14th century.). Probably belonged to the tympanum with the donor portraits of Frederick the Fair and Isabella at the feet of the Mother of God, which was inserted in the third construction phase of the church in the secondary north portal, the original entrance to the Ludwig chapel. It must be mentioned that even the Duchess Blanche (1305 ) built around 1330 a high early gothic marble grave, which unfortunately disappeared in the course of the renovation of the church in the years 1784-86 by the court architect Johann Ferdinand Hetzendorf of Hohenberg. It would be in Vienna today the only work of art of this kind

Third stage of construction (from 1339 -1400): Construction of a three-aisled hall (originally nave chapel Ludwig). The north wall of the chapel was extended to the west and in the north portal installed a second yoke. In addition, it was built a new west facade, with especially the central portal - including was designed - with jamb - pompous like the French late Gothic - perhaps under South German mediation. In the obituary of the Friars Minor brother Jacob of Paris is called ( around 1340), the confessor Albrecht II as the creator of this work of art. The duke and his wife Johanna von Außenmauer MinoritenkirchePfirt have obviously significantly contributed to the emergence of Vienna undoubtedly unique late Gothic cathedrals three portal group, there is also a representation of Albrecht and his wife in the middle portal next to the cross of Christ. Together with the two for a rich Mendikantenkirche (Mendicity church) this equipment is also of French models (see Notre Dame Cathedral in Paris [after 1285] ) constructed in 1350-1370 with splendid rose windows (with "bright" and "rotating" tracery) to the south wall - unusually without a doubt. The workshop, which built the Ludwig chapel was also busy with the west facade ("Minoritenwerkstatt" (workshop)). 1350-60 or later today, finally, the bell tower was only partially built (as a builder is a lay brother Nicholas, 1385 or 1386 called ). The tower consists mainly of two parts, a lower part made ​​of stone blocks to the height of the nave, and an upper, octagonal section of mixed masonry. Its crown had because of damage - especially been renewed several times and was eventually removed - during the Turkish wars . The consecration of the enlarged Minoritenkirche must have taken place about the year 1390. So that the church had received its valid look for the next time.

In 1529, during the first siege of the monastery and the church even more extensive damage suffering (launch of the spire). Since the monastery of the Observant (Franciscans) had been destroyed by the Turks, these sought to supplant the Franciscans in their convent, where John Capistrano, the founder of the "brown Franciscan" (Observant) in Vienna, lived some time in the Franciscan monastery and in the Church had preached, but eventually instructed the Emperor Ferdinand I the now homeless Observant buildings on Singerschen Platz. In fact, the number of Wiener Friars Minor has then shrunk to seven, so that they felt compelled to call Fathers from Italy. But that but could not prevent that the church from 1569-1620 war a Protestant church. Interestingly, originate numerous coats of arms on the balcony of this period. At that time the Conventual were only in the possession of Louis Chapel and the Chapel of St. Catherine. Also during the second Turkish siege in 1683 the tower served as an observation tower and the Minoritenkirche was accordingly fired by the Turks and severely damaged. In 1733 the tower is adorned with a copper dome, but because of the danger of collapse eventually had to be removed. It brought the church to that low pointed tiled roof, which still exists today .

More and more, the bands developed in the Minoritenkirche, especially Ludwig chapel and cemetery, grave sites of the nobility. Besides Blanche of Valois and Isabella of Aragon and Margaret, the last country Duchess of Tyrol, was named Maultasch ( 1369 ), is buried here, as well as members of Lichtsteiner, Ditrichsteins, Puchaimer, Hojo, Stauffenberger, Greifensteiner; Piccolomini, Medici, Cavalcanti, Montaldi, Valperga, etc. (many of them are listed in the "Libro d'Oro of the "Congregation Italiana"). It should also be mentioned that the Franciscans since the end of the 14th Century took lively interest in teaching at the University of Vienna, especially of course in the subjects of theology, but also the jurisprudence. At the beginning of the 18th Century lived in the Vienna alsoin the Viennese Convention the Venetian cosmographer Br Vincenzo Coronelli, which the Emperor Charles VI. appointed to head the regulation of the Danube and its famous globes are now in the globe collection of the National Library in Vienna.

It is worthnoting, finally, the fact that around 1543 on the Ballhausplatz near the Imperial Palace from parts of the monastery a small hospital was donated and that the Franciscans for 13 years did all the counseling in this new Hofspital, at this time was the newly restored Chapel of St. Catherine Hospital Church. Another wing of the former minority monastery was home to the Imperial Court Library, 1558-1613.

To Minoritenkirche the second half of the 18th Century brought drastic changes. This development was initiated by the fact that the naturalized Italians in Vienna founded an Italian congregation in 1625/26 under the guidance of the Jesuit priest and professor at the University of Vienna Wilhelm Lamormaini. By the year 1773, when the Jesuit Order was temporarily released their Italian trade fairs celebrated this "Congregation Italiana" in a chapel of the Jesuits at Bognergasse, near the old Jesuit church "Am Hof". But in 1773 that little church was by the imperial government requisited. Then the Italians found in St. Catherine Chapel at Ballhausplatz, which popularly still is referred as the Italian church - ie not only the Minoritenkirche - a new home. After a thorough restoration of the chapel was consecrated on 1 February 1775 ceremony in memory of the "Santa Maria Maggiore" to Rome in the name of "Madonna della Neve" (Mary Snow church'). The Holy Mass conducted Antonio Salieri (1750-1825), who was in 1774 chamber composer and conductor of the Italian opera in Vienna, from 1788-90 to 1824 Kapellmeister and Director of the Court Chapel. Pope Pius VI . visited during his stay in Vienna on Good Friday of 1782 the church "Maria Schnee" on the Ballhausplatz. But this state of the law was short-lived: in 1783 Emperor Joseph II shifted the Friars Minor in the former Trinitarian on Alserstrasse, and the Minoritenkirche was on the grounds that the chapel "p Maria della Neve" for about 7,000 Italians living in Vienna was too small, the Congregation italiana transferred to the condition that the Community had now to restore the Great Church (imperial decree of June 3, 1784). The richly decorated chapel "Madonna della Neve" went on an imperial property and was finally in the late 18th Century canceled. Also, the Franciscan monastery passed into state ownership: one is used for imperial and feudal law firms. The cemetery near the church was abandoned. With the greatest financial burdens now led the congregation from the imperial mission of the church renovation, the thorough repair of the church was entrusted to the court architect Johann Ferdinand Hetzendorf of Hohenberg (1784-1789). In order to cover the construction costs somewhat, were the old long choir (chancel) and the beginning of the 14th Century. (Consecrated in 1317 ) at the western end of the south side of the nave grown (and now defunct) St. John's Chapel (Chapel Puchaimische Kapelle ) converted into residences. The solemn consecration of the church under the name of "Madonna della Neve" took place on 16 April 1786, on Easter Sunday.

But soon was moving closer to the church the next hardship: In the years of the Napoleonic wars, the church should serve as a warehouse for straw, hay and for different equipment, so in 1809 also the forced evacuation of the building took place. Shortly after engaging the French eventually turned this into a provisions store. Two-thirds of the floor was smashed by the rolling of drums and by the retraction of cars. In the middle of the church a wide, tunnel-like cavity had been excavated and other parts of the floor destroyed a in God's house capped oven. Until 18 April 1810, the then Prefect of the Minoritenkirche received back the church keys. In 1825 died one of the most famous Kongregaten (congregats) of this century, namely, the composer Antonio Salieri, and on 22 June this year resounded in the Italian national church with the participation of the court chapel and the first Hofchores (court choir) the Verdi Requiem.

As the situation after the Napoleonic war turmoil in the mid-19th Century had normalized, Emperor Ferdinand the Good in 1845 donated to the "Congregation italiana" the according to the model of Leonardo da Vinci's famous fresco (1495-97) designed mosaic of the Last Supper, which the Roman Giacomo Raffaelli ​​of 12 panels with a total weight of 20 tons by Napoleon's orders had made in the years 1806-1814, and was eventually bought by Emperor Franz for the Belvedere Palace. To that gave Emperor Ferdinand a considerable amount (8000 guilders) to allow the mounting of the work of art in the Minoritenkirche. The inauguration of the altar took place on 26nd in March 1847. In 1852 Emperor Franz Joseph came and soon the Crown Prince Franz Ferdinand in the "Congregation ". The former paid each year mostly coming from out of town fast preachers for the Church, in return he regularly received at the Festival of Lights (2 February) as well as on Palm Sunday the sacred candle or the olive branch.

The last major change in the church took place in the years 1892-1905 at the restructuring of the Minoritenplatz. Now two new courses, namely the Ballhausplatz and Minoritenplatz emerged, the houses adjacent to the church (former Long John's Chapel Choir and) were demolished. The former Franciscan monastery had to give way to the House, Court and State Archives. Even the church was given a new face, although the plans of the architect Viktor Luntz due to financial reasons only could be realized partially, there were clearly visible changes: Most noticeable to the viewer is undoubtedly the Gothic passage on the south side of the walled grave stones originated partly from the bands, and part of the adjacent once cemetery, as well as the above installed "Minoritenhaus". 1907 were placed in the tower four new bells cast in Trento, which is, however - with the exception of one, St. Anthony ordained, Bell - 1914 confiscated. The solemn consecration of the church took place on 4 Held in May 1909 in the presence of Emperor Franz Joseph. Due to the highly cooperative attitude of the Congregation towards the transformation plans of the City of Vienna Lueger, the mayor promised that the court should never be installed directly behind the church.

More important restoration work was carried out 1960-1962 (church affairs), in the last decade, as the outer walls have been restored.

About Minoritenplatz finally should be mentioned that the pastoral care of Italians after 1786 by each rectors appointed by the Archbishop was, from 1808 to 1813 was also here Clemens Maria Hofbauer who died 1820 and later was canonized working as a church rector. Therefore, there is also his monument on the north side of the church. Since the year 1953, and officially by the order of the archbishop Ordinariate of 1 December 1957 is the Friars Minor transmitted the pastoral care of the Italian community again, firstly the Fathers belonging to the Order of Padua Province while they are under the Austrian province today. In the year 2003, ie 50 years after the adoption of the pastoral care of Italians in the Minoritenkirche by the Conventual, that Francis statue was made, nowadays, it is located on the north side of the church, next to the Baroque cultivation.

 

(Text by Dr. Manfred Zips, Ital. Congregation )

www.minoriten.at/inhalt/wo/Minoriten/minoritenkirche.htm

Reduction analysis

Systematic arrangement

Organized normalization

 

The GP40X was EMD's testbed for the future GP50 and introduced the unpopular HT-B truck. The 'elephant ears' version shown here was an experiment in normalizing the tunnel motor concept. The ears eventually were removed and the HT-B trucks were never reproduced. I needed a powered SP unit to haul around some heavy trains so all those unique qualities fit the bill just right. Originally I wanted to build the UP version, but the SP is more iconic with those elephant ears. The UP version will follow someday.

 

A real GP40X.

From Wikipedia, the free encyclopedia

 

Jump to: navigation, search

This article is about the capital of the Czech Republic. For other uses, see Prague (disambiguation).

"Praha" redirects here. For other uses, see Praha (disambiguation).

Prague

Praha

Capital city

Hlavní město Praha

  

Prague (/prɑːɡ/; Czech: Praha [ˈpraɦa] ( listen), German: Prag) is the capital and largest city in the Czech Republic, the 14th largest city in the European Union[7] and also the historical capital of Bohemia. Situated in the north-west of the country on the Vltava river, the city is home to about 1.3 million people, while its larger urban zone is estimated to have a population of 2.2 million.[8] The city has a temperate climate, with warm summers and chilly winters.

Prague has been a political, cultural and economic centre of central Europe complete with a rich history. Founded during the Romanesque and flourishing by the Gothic, Renaissance and Baroque eras, Prague was the capital of the kingdom of Bohemia and the main residence of several Holy Roman Emperors, most notably of Charles IV (r. 1346–1378).[9] It was an important city to the Habsburg Monarchy and its Austro-Hungarian Empire. The city played major roles in the Bohemian and Protestant Reformation, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia, during both World Wars and the post-war Communist era.[10]

Prague is home to a number of famous cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include the Prague Castle, the Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the extensive historic centre of Prague has been included in the UNESCO list of World Heritage Sites.

The city has more than ten major museums, along with numerous theatres, galleries, cinemas and other historical exhibits. An extensive modern public transportation system connects the city. Also, it is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.[11]

Prague is classified as a "Beta+" global city according to GaWC studies[12] and ranked sixth in the Tripadvisor world list of best destinations in 2016.[13] Its rich history makes it a popular tourist destination and as of 2014, the city receives more than 6.4 million international visitors annually. Prague is the fifth most visited European city after London, Paris, Istanbul and Rome.[14]

 

History[edit]

Main articles: History of Prague and Timeline of Prague

  

During the thousand years of its existence, the city grew from a settlement stretching from Prague Castle in the north to the fort of Vyšehrad in the south, becoming the capital of a modern European country, the Czech Republic, a member state of the European Union.

 

Early history[edit]

  

The Prague astronomical clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest one still working.

The region was settled as early as the Paleolithic age.[15] Around the fifth and fourth century BC, the Celts appeared in the area, later establishing settlements including an oppidum in Závist, a present-day suburb of Prague, and giving name to the region of Bohemia, "home of the Boii".[15][16] In the last century BC, the Celts were slowly driven away by Germanic tribes (Marcomanni, Quadi, Lombards and possibly the Suebi), leading some to place the seat of the Marcomanni king Maroboduus on the southern Prague's site Závist.[17][18] Around the area where present-day Prague stands, the 2nd century map of Ptolemaios mentioned a Germanic city called Casurgis.[19]

In the late 5th century AD, during the great Migration Period following the collapse of the Western Roman Empire, the Germanic tribes living in Bohemia moved westwards and, probably in the 6th century, the Slavic tribes (Venedi) settled Central Bohemian Region. In the following two centuries, the Czech tribes built several fortified settlements in the area, most notably in the Šárka valley, Butovice and later in Levý Hradec.[15]

The construction of what came to be known as the Prague Castle began near the end of the 9th century, with a fortified settlement already existing on the site in the year 800.[20] The first masonry under Prague Castle dates from the year 885 at the latest.[21] The other prominent Prague fort, the Přemyslid fort Vyšehrad, was founded in the 10th century, some 70 years later than Prague Castle.[22] Prague Castle is dominated by the cathedral, which was founded in 1344, but completed in the 20th century.

  

The legendary origins of Prague attribute its foundation to the 8th century Czech duchess and prophetess Libuše and her husband, Přemysl, founder of the Přemyslid dynasty. Legend says that Libuše came out on a rocky cliff high above the Vltava and prophesied: "I see a great city whose glory will touch the stars." She ordered a castle and a town called Praha to be built on the site.[15]

A 17th century Jewish chronicler David Solomon Ganz, citing Cyriacus Spangenberg, claimed that the city was founded as Boihaem in c. 1306 BC by an ancient king, Boyya.[18]

The region became the seat of the dukes, and later kings of Bohemia. Under Roman Emperor Otto II the area became a bishopric in 973. Until Prague was elevated to archbishopric in 1344, it was under the jurisdiction of the Archbishopric of Mainz.

Prague was an important seat for trading where merchants from all of Europe settled, including many Jews, as recalled in 965 by the Hispano-Jewish merchant and traveller Ibrahim ibn Ya'qub. The Old New Synagogue of 1270 still stands. Prague contained an important slave market.[23]

At the site of the ford in the Vltava river, King Vladislaus I had the first bridge built in 1170, the Judith Bridge (Juditin most), named in honour of his wife Judith of Thuringia. This bridge was destroyed by a flood in 1342. Some of the original foundation stones of that bridge remain.

In 1257, under King Ottokar II, Malá Strana ("Lesser Quarter") was founded in Prague on the site of an older village in what would become the Hradčany (Prague Castle) area. This was the district of the German people, who had the right to administer the law autonomously, pursuant to Magdeburg rights. The new district was on the bank opposite of the Staré Město ("Old Town"), which had borough status and was bordered by a line of walls and fortifications.

  

The era of Charles IV[edit]

  

Prague flourished during the 14th-century reign (1346–1378) of Charles IV, Holy Roman Emperor and the king of Bohemia of the new Luxembourg dynasty. As King of Bohemia and Holy Roman Emperor, he transformed Prague into an imperial capital and it was at that time the third-largest city in Europe (after Rome and Constantinople).

He ordered the building of the New Town (Nové Město) adjacent to the Old Town and laid out the design himself. The Charles Bridge, replacing the Judith Bridge destroyed in the flood just prior to his reign, was erected to connect the east bank districts to the Malá Strana and castle area. On 9 July 1357 at 5:31 am, Charles IV personally laid the first foundation stone for the Charles Bridge. The exact time of laying the first foundation stone is known because the palindromic number 135797531 was carved into the Old Town bridge tower having been chosen by the royal astrologists and numerologists as the best time for starting the bridge construction.[24] In 1347, he founded Charles University, which remains the oldest university in Central Europe.

 

He began construction of the Gothic Saint Vitus Cathedral, within the largest of the Prague Castle courtyards, on the site of the Romanesque rotunda there. Prague was elevated to an archbishopric in 1344, the year the cathedral was begun.

The city had a mint and was a centre of trade for German and Italian bankers and merchants. The social order, however, became more turbulent due to the rising power of the craftsmen's guilds (themselves often torn by internal fights), and the increasing number of poor people.

The Hunger Wall, a substantial fortification wall south of Malá Strana and the Castle area, was built during a famine in the 1360s. The work is reputed to have been ordered by Charles IV as a means of providing employment and food to the workers and their families.

Charles IV died in 1378. During the reign of his son, King Wenceslaus IV (1378–1419), a period of intense turmoil ensued. During Easter 1389, members of the Prague clergy announced that Jews had desecrated the host (Eucharistic wafer) and the clergy encouraged mobs to pillage, ransack and burn the Jewish quarter. Nearly the entire Jewish population of Prague (3,000 people) perished.[25][26]

 

Jan Hus, a theologian and rector at the Charles University, preached in Prague. In 1402, he began giving sermons in the Bethlehem Chapel. Inspired by John Wycliffe, these sermons focused on what were seen as radical reforms of a corrupt Church. Having become too dangerous for the political and religious establishment, Hus was summoned to the Council of Constance, put on trial for heresy, and burned at the stake in Constanz in 1415.

Four years later Prague experienced its first defenestration, when the people rebelled under the command of the Prague priest Jan Želivský. Hus' death, coupled with Czech proto-nationalism and proto-Protestantism, had spurred the Hussite Wars. Peasant rebels, led by the general Jan Žižka, along with Hussite troops from Prague, defeated Emperor Sigismund, in the Battle of Vítkov Hill in 1420.

During the Hussite Wars when the City of Prague was attacked by "Crusader" and mercenary forces, the city militia fought bravely under the Prague Banner. This swallow-tailed banner is approximately 4 by 6 feet (1.2 by 1.8 metres), with a red field sprinkled with small white fleurs-de-lis, and a silver old Town Coat-of-Arms in the centre. The words "PÁN BŮH POMOC NAŠE" (The Lord is our Relief) appeared above the coat-of-arms, with a Hussite chalice centred on the top. Near the swallow-tails is a crescent shaped golden sun with rays protruding.

One of these banners was captured by Swedish troops in Battle of Prague (1648), when they captured the western bank of the Vltava river and were repulsed from the eastern bank, they placed it in the Royal Military Museum in Stockholm; although this flag still exists, it is in very poor condition. They also took the Codex Gigas and the Codex Argenteus. The earliest evidence indicates that a gonfalon with a municipal charge painted on it was used for Old Town as early as 1419. Since this city militia flag was in use before 1477 and during the Hussite Wars, it is the oldest still preserved municipal flag of Bohemia.

In the following two centuries, Prague strengthened its role as a merchant city. Many noteworthy Gothic buildings[28][29] were erected and Vladislav Hall of the Prague Castle was added.

  

Habsburg era[edit]

 

In 1526, the Bohemian estates elected Ferdinand I of the House of Habsburg. The fervent Catholicism of its members was to bring them into conflict in Bohemia, and then in Prague, where Protestant ideas were gaining popularity.[30] These problems were not pre-eminent under Holy Roman Emperor Rudolf II, elected King of Bohemia in 1576, who chose Prague as his home. He lived in the Prague Castle, where his court welcomed not only astrologers and magicians but also scientists, musicians, and artists. Rudolf was an art lover too, and Prague became the capital of European culture. This was a prosperous period for the city: famous people living there in that age include the astronomers Tycho Brahe and Johannes Kepler, the painter Arcimboldo, the alchemists Edward Kelley and John Dee, the poet Elizabeth Jane Weston, and others.

In 1618, the famous second defenestration of Prague provoked the Thirty Years' War, a particularly harsh period for Prague and Bohemia. Ferdinand II of Habsburg was deposed, and his place as King of Bohemia taken by Frederick V, Elector Palatine; however his army was crushed in the Battle of White Mountain (1620) not far from the city. Following this in 1621 was an execution of 27 Czech leaders (involved in the uprising) in Old Town Square and the exiling of many others. The city suffered subsequently during the war under Saxon (1631) and Battle of Prague (1648).[31] Prague began a steady decline which reduced the population from the 60,000 it had had in the years before the war to 20,000. In the second half of the 17th century Prague's population began to grow again. Jews had been in Prague since the end of the 10th century and, by 1708, they accounted for about a quarter of Prague's population.[32]

  

In 1689, a great fire devastated Prague, but this spurred a renovation and a rebuilding of the city. In 1713–14, a major outbreak of plague hit Prague one last time, killing 12,000 to 13,000 people.[33]

In 1744 Frederick the Great of Prussia invaded Bohemia. He took Prague after a severe and prolonged siege in the course of which a large part of the town was destroyed.[34] In 1757 the Prussian Prussian bombardment[34] destroyed more than one quarter of the city and heavily damaged St. Vitus Cathedral. However a month later Frederick the Great was defeated and to retreat from Bohemia.

The economy of the city continued to improve during the 18th century. The population increased to 80,000 inhabitants by 1771. Many rich merchants and nobles enhanced the city with a host of palaces, churches and gardens full of art and music, creating a Baroque city renowned throughout the world to this day.

In 1784, under Joseph II, the four municipalities of Malá Strana, Nové Město, Staré Město, and Hradčany were merged into a single entity. The Jewish district, called Josefov, was included only in 1850. The Industrial Revolution had a strong effect in Prague, as factories could take advantage of the coal mines and ironworks of the nearby region. A first suburb, Karlín, was created in 1817, and twenty years later the population exceeded 100,000.

The revolutions in Europe in 1848 also touched Prague, but they were fiercely suppressed. In the following years the Czech National Revival began its rise, until it gained the majority in the town council in 1861. Prague had a German-speaking majority in 1848, but by 1880 the number of German speakers had decreased to 14% (42,000), and by 1910 to 6.7% (37,000), due to a massive increase of the city's overall population caused by the influx of Czechs from the rest of Bohemia and Moravia and also due to return of social status importance of the Czech language.

  

20th century[edit]

  

First Czechoslovak Republic[edit]

Main article: First Czechoslovak Republic

World War I ended with the defeat of the Austro-Hungarian Empire and the creation of Czechoslovakia. Prague was chosen as its capital and Prague Castle as the seat of president Tomáš Garrigue Masaryk. At this time Prague was a true European capital with highly developed industry. By 1930, the population had risen to 850,000.

Second World War[edit]

  

Further information: German occupation of Czechoslovakia

Hitler ordered the German Army to enter Prague on 15 March 1939, and from Prague Castle proclaimed Bohemia and Moravia a German protectorate. For most of its history, Prague had been a multi-ethnic city with important Czech, German and (mostly native German-speaking) Jewish populations.[citation needed] From 1939, when the country was occupied by Nazi Germany, and during the Second World War, most Jews were deported and killed by the Germans. In 1942, Prague was witness to the assassination of one of the most powerful men in Nazi Germany – Reinhard Heydrich – during Operation Anthropoid, accomplished by Czechoslovak national heroes Jozef Gabčík and Jan Kubiš. Hitler ordered bloody reprisals.

At the end of the war, Prague suffered several bombing raids by the US Army Air Forces. 701 people were killed, more than 1,000 people were injured and some of buildings, factories and historical landmarks (Emmaus Monastery, Faust House, Vinohrady Synagogue) were destroyed.[35] Many historic structures in Prague, however, escaped the destruction of the war and the damage was small compared to the total destruction of many other cities in that time. According to American pilots, it was the result of a navigational mistake.

On 5 May 1945, two days before Germany capitulated, an uprising against Germany occurred. Four days later, the 3rd Shock Army of the Red Army took the city, with fierce fighting until 11th May 1945. The majority (about 50,000 people) of the German population of Prague either fled or were expelled by the Beneš decrees in the aftermath of the war.

Cold War[edit]

Main article: History of Czechoslovakia (1948–89)

  

Prague was a city in the territory of military and political control of the Soviet Union (see Iron Curtain). The biggest Stalin Monument was unveiled on Letná hill in 1955 and destroyed in 1962. The 4th Czechoslovakian Writers' Congress held in the city in June 1967 took a strong position against the regime.[36] On 31 October 1967 students demonstrated at Strahov. This spurred the new secretary of the Communist Party, Alexander Dubček, to proclaim a new deal in his city's and country's life, starting the short-lived season of the "socialism with a human face". It was the Prague Spring, which aimed at the renovation of institutions in a democratic way. The other Warsaw Pact member countries, except Romania and Albania, reacted with the invasion of Czechoslovakia and the capital on 21 August 1968 by tanks, suppressing any attempt at reform. Jan Palach and Jan Zajíc committed suicide by self-immolation in January and February 1969 to protest against the "normalization" of the country.

  

After Velvet Revolution[edit]

  

In 1989, after the riot police beat back a peaceful student demonstration, the Velvet Revolution crowded the streets of Prague, and the Czechoslovak capital benefited greatly from the new mood. In 1993, after the split of Czechoslovakia, Prague became the capital city of the new Czech Republic. From 1995 high-rise buildings began to be built in Prague in large quantities. In the late 1990s, Prague again became an important cultural centre of Europe and was notably influenced by globalisation[clarification needed]. In 2000, IMF and World Bank summits took place in Prague. In 2002, Prague suffered from widespread floods that damaged buildings and its underground transport system.

Prague launched a bid for the 2016 Summer Olympics,[37] but failed to make the candidate city shortlist. In June 2009, as the result of financial pressures from the global recession, Prague's officials also chose to cancel the city's planned bid for the 2020 Summer Olympics.[38]

Name[edit]

See also: Names in different languages

  

The Czech name Praha is derived from an old Slavic word, práh, which means "ford" or "rapid", referring to the city's origin at a crossing point of the Vltava river.[39] The same etymology is associated with the Praga district of Warsaw.[40]

Another view to the origin of name is also related to the Czech word práh (in the mean of a threshold) and a legendary etymology connects the name of the city with princess Libuše, prophetess and a wife of mythical founder of the Přemyslid dynasty. She is said to have ordered the city "to be built where a man hews a threshold of his house". The Czech práh might thus be understood to refer to rapids or fords in the river, the edge of which could have acted as a means of fording the river – thus providing a "threshold" to the castle.

Another derivation of the name Praha is suggested from na prazě, the original term for the shale hillside rock upon which the original castle was built. At that time, the castle was surrounded by forests, covering the nine hills of the future city – the Old Town on the opposite side of the river, as well as the Lesser Town beneath the existing castle, appeared only later.[41]

The English spelling of the city's name is borrowed from French. Prague is also called the "City of a Hundred Spires", based on a count by 19th century mathematician Bernard Bolzano, today's count is estimated by Prague Information Service at 500.[42] Nicknames for Prague have also included: the Golden City, the Mother of Cities and the Heart of Europe.[43]

Geography[edit]

Prague is situated on the Vltava river, at 50°05"N and 14°27"E.[44] in the centre of the Bohemian Basin. Prague is approximately at the same latitude as Frankfurt, Germany;[45] Paris, France;[46] and Vancouver, Canada.[47]

  

Climate[edit]

  

Prague has a humid continental climate (Köppen Dfb). The winters are relatively cold with average temperatures at about freezing point, and with very little sunshine. Snow cover can be common between mid-November and late March although snow accumulations of more than 20 cm (8 in) are infrequent. There are also a few periods of mild temperatures in winter. Summers usually bring plenty of sunshine and the average high temperature of 24 °C (75 °F). Nights can be quite cool even in summer, though. Precipitation in Prague (and most of the Bohemian lowland) is rather low (just over 500 mm [20 in] per year) since it is located in the rain shadow of the Sudetes and other mountain ranges. The driest season is usually winter while late spring and summer can bring quite heavy rain, especially in form of thundershowers. Temperature inversions are relatively common between mid-October and mid-March bringing foggy, cold days and sometimes moderate air pollution. Prague is also a windy city with common sustained western winds and an average wind speed of 16 km/h (9.9 mph) that often help break temperature inversions and clear the air in cold months.

  

Culture[edit]

Historic Centre of Prague

 

Includes

Historic Centre of Prague and Průhonice Park

Criteria

Cultural: ii, iv, vi

Reference

616

Inscription

1992 (16th Session)

Area

1,106.36 ha

Buffer zone

9,887.09 ha

 

Prague Congress Centre has hosted the IMF-WBG meeting and NATO summit

The city is traditionally one of the cultural centres of Europe, hosting many cultural events. Some of the significant cultural institutions include the National Theatre (Národní Divadlo) and the Estates Theatre (Stavovské or Tylovo or Nosticovo divadlo), where the premières of Mozart's Don Giovanni and La clemenza di Tito were held. Other major cultural institutions are the Rudolfinum which is home to the Czech Philharmonic Orchestra and the Municipal House which is home to the Prague Symphony Orchestra. The Prague State Opera (Státní opera) performs at the Smetana Theatre.

The city has many world-class museums, including the National Museum (Národní muzeum), the Museum of the Capital City of Prague, the Jewish Museum in Prague, the Alfons Mucha Museum, the African-Prague Museum, the Museum of Decorative Arts in Prague, the Náprstek Museum (Náprstkovo Muzeum), the Josef Sudek Gallery and The Josef Sudek Studio, the National Library and the National Gallery, which manages the largest collection of art in the Czech Republic.

There are hundreds of concert halls, galleries, cinemas and music clubs in the city. It hosts music festivals including the Prague Spring International Music Festival, the Prague Autumn International Music Festival, the Prague International Organ Festival and the Prague International Jazz Festival. Film festivals include the Febiofest, the One World Film Festival and Echoes of the Karlovy Vary International Film Festival. The city also hosts the Prague Writers' Festival, the Prague Folklore Days, Prague Advent Choral Meeting the Summer Shakespeare Festival,[55] the Prague Fringe Festival, the World Roma Festival, as well as the hundreds of Vernissages and fashion shows.

Many films have been made at Barrandov Studios and at Prague Studios. Hollywood films set in Prague include Mission Impossible, xXx, Blade II, Alien vs. Predator, Doom, Chronicles of Narnia, Hellboy, Red Tails, Children of Dune and Van Helsing.[56] Other Czech films shot in Prague include Empties, EuroTrip, Amadeus and The Fifth Horseman is Fear. Also, the romantic music video "Never Tear Us Apart" by INXS, "Diamonds from Sierra Leone" by Kanye West was shot in the city, and features shots of the Charles Bridge and the Astronomical Clock, among other famous landmarks. Rihanna's "Don't Stop the Music" video was filmed at Prague's Radost FX Club. The city was also the setting for the film Dungeons and Dragons in 2000. The music video "Silver and Cold" by AFI, an American rock band, was also filmed in Prague. Many Indian films have also been filmed in the city including Yuvraaj, Drona and Rockstar. Early 2000's europop hit "Something" by "Lasgo" was filmed at the central train station in Prague.

With the growth of low-cost airlines in Europe, Prague has become a popular weekend city destination allowing tourists to visit its many museums and cultural sites as well as try its famous Czech beers and hearty cuisine.

The city has many buildings by renowned architects, including Adolf Loos (Villa Müller), Frank O. Gehry (Dancing House) and Jean Nouvel (Golden Angel).

Recent major events held in Prague:

•International Monetary Fund and World Bank Summit 2000

•NATO Summit 2002

•International Olympic Committee Session 2004

•IAU General Assembly 2006 (Definition of planet)

•EU & USA Summit 2009

•Czech Presidency of the Council of the European Union 2009

•USA & Russia Summit 2010 (signing of the New START treaty)

  

Cuisine[edit]

In 2008 the Allegro restaurant received the first Michelin star in the whole of the post-Communist part of Central Europe. It retained its star until 2011. As of 2016 there are three Michelin-starred restaurants in Prague: Alcron, La Degustation, Bohême Bourgeoise, and Field.

In Malá Strana, Staré Město, Žižkov and Nusle there are hundreds of restaurants, bars and pubs, especially with Czech beer. Prague also hosts the Czech Beer Festival (Český pivní festival), which is the largest beer festival in the Czech Republic, held for 17 days every year in May. At the festival, more than 70 brands of Czech beer can be tasted.

Prague is home to many breweries including:

•Pivovary Staropramen (Praha 5)

•První novoměstský restaurační pivovar (Praha 1)

•Pivovar U Fleků (Praha 1)

•Klášterní pivovar Strahov (Praha 1)

•Pivovar Pražský most u Valšů (Praha 1)

•Pivovarský Hotel U Medvídků (Praha 1)

•Pivovarský dům (Praha 2)

•Jihoměstský pivovar (Praha 4)

•Sousedský pivovar U Bansethů (Praha 4)

•Vyukový a výzkumný pivovar – Suchdolský Jeník (Praha 6)

•Pivovar U Bulovky (Praha 8)

  

Economy[edit]

 

Prague's economy accounts for 25% of the Czech GDP[57] making it the highest performing regional economy of the country. According to the Eurostat, as of 2007, its GDP per capita in purchasing power standard is €42,800. Prague ranked the 5th best-performing European NUTS two-level region at 172 percent of the EU-27 average.[58]

The city is the site of the European headquarters of many international companies.[citation needed]

Prague employs almost a fifth of the entire Czech workforce, and its wages are significantly above average (~+25%). In December 2015, average salaries available in Prague reached 35,853 CZK, an annual increase of 3.4%, which was nevertheless lower than national increase of 3.9% both in nominal and real terms. (Inflation in Prague was 0.5% in December, compared with 0.1% nationally.)[58][59] Since 1990, the city's economic structure has shifted from industrial to service-oriented. Industry is present in sectors such as pharmaceuticals, printing, food processing, manufacture of transport equipment, computer technology and electrical engineering. In the service sector, financial and commercial services, trade, restaurants, hospitality and public administration are the most significant. Services account for around 80 percent of employment. There are 800,000 employees in Prague, including 120,000 commuters.[57] The number of (legally registered) foreign residents in Prague has been increasing in spite of the country's economic downturn. As of March 2010, 148,035 foreign workers were reported to be living in the city making up about 18 percent of the workforce, up from 131,132 in 2008.[60] Approximately one-fifth of all investment in the Czech Republic takes place in the city.

Almost one-half of the national income from tourism is spent in Prague. The city offers approximately 73,000 beds in accommodation facilities, most of which were built after 1990, including almost 51,000 beds in hotels and boarding houses.

  

From the late 1990s to late 2000s, the city was a popular filming location for international productions such as Hollywood and Bollywood motion pictures. A combination of architecture, low costs and the existing motion picture infrastructure have proven attractive to international film production companies.

The modern economy of Prague is largely service and export-based and, in a 2010 survey, the city was named the best city in Central and Eastern Europe (CEE) for business.[61]

In 2005, Prague was deemed among the three best cities in Central and Eastern Europe according to The Economist's livability rankings.[62] The city was named as a top-tier nexus city for innovation across multiple sectors of the global innovation economy, placing 29th globally out of 289 cities, ahead of Brussels and Helsinki for innovation in 2010 in 2thinknow annual analysts Innovation Cities Index.[63] Na příkopě in New Town is the most expensive street in the whole of Central Europe.[64]

In the Eurostat research, Prague ranked fifth among Europe's 271 regions in terms of gross domestic product per inhabitant, achieving 172 percent of the EU average. It ranked just above Paris and well above the country as a whole, which achieved 80 percent of the EU average.[65][66]

Companies with highest turnover in the region in 2014:[67]

Name

Turnover, mld. Kč

ČEZ

200.8

Agrofert

166.8

RWE Supply & Trading CZ

146.1

Prague is also the site of some of the most important offices and institutions of the Czech Republic.

•President of the Czech Republic

•The Government and both houses of Parliament

•Ministries and other national offices (Industrial Property Office, Czech Statistical Office, National Security Authority etc.)

•Czech National Bank

•Czech Television and other major broadcasters

•Radio Free Europe – Radio Liberty

•Galileo global navigation project

•Academy of Sciences of the Czech Republic

  

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

A statue of celebrated New York photographer Diane Arbus by English sculptor Gillian Wearing was on display in Doris C. Freedman Plaza in Central Park from October 20, 2021 to August 14, 2022. The life-size sculpture, standing shoes-to-the-ground without a base at 5’6” tall, depicts Arbus with "depicts Arbus with her finger on the shutter button of her iconic twin lens camera, as she might have been seen in the 1950s and '60s.”

 

Diane Arbus (1923-1971) photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families, often in familiar settings, helping to normalize marginalized groups and highlighting the importance of proper representation.

B86, the Ink Spot, is a Dark Nebula in Sagittarius that obscures the light from the background stars of the milky way. On the left lies the Open Cluster NGC 6520.

 

Object: NGC 6520 + B 86 (Ink Spot)

Optics: Lacerta Newton 12" F4 + 3" Wynne-Corrector

Mount: Sky-Watcher EQ8

Camera: ZWO ASI 183MM Pro @-20°C, Gain=53, Offset=10

Filter: ZWO EFW 7x36mm, ZWO 36mm Filters

Exposure: total ~1.3h, R 20x60sec, G 20x60sec, B 20x60sec, L 40x60sec, L (derived from RGB), 200 Bias, 40 Darks, 40 Flats per channel

Date: 2018-07-13

Location: ATHOS Centro Astronómico S.L., La Palma

Capture: Sequence Generator Pro

Guiding: Off-Axis, ASI120MM, PHD2

Image Acquisition: Stephan Schurig

Image Processing: Stephan Schurig

AstroPixelProcessor 1.062: Calibration, Registration, Normalization, Integration, Channel Combination, Background Calibration, Auto Digital Development

Photoshop 19.1.5: Curves, Masked Dynamic (Saturation), Cosmetic Star Repair, Shadows/Highlights, Curves, Masked Dynamic (Saturation), Nik Output Sharpener

Here is the third photo set for the Babes & Boobs project, a pro-public breastfeeding photo essay I wanted to personally start up in hopes of persuading society to normalize and not criticize breast feeding, as well as hoping to change the future for expecting moms.

 

Every boy dreams about one day seeing a real-life dinosaur, and every breast feeding mom dreams about doing so in public without ridicule…Well that’s exactly how this morning went! What better place to practice human nature than in a museum of science? At Fernbank, Carey and Elliott discovered fossils, as well as a deeply rooted bond for one another.

 

Me: “So what made you excited to participate in the project?”

Carey: “Other than being a big promoter of PBF, I feel like there is a lack of education on it.”

Me: “I agree. I’ve talked to other women so far, and a few have said that there’s just ignorance surrounding it.”

Carey: “Right. Also, not many people have a lactation consultant or support group to help them better understand breastfeeding and support their right to do so publicly. My mom breastfed me, so there was no question that that is what I would be doing for my children. It’s also great that she supports me when I nurse openly in public too.”

 

More can be found on: www.sarahshootspeople.com

www.babesandboobsblog.tumblr.com

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Hebron (Arabic: الخليل al-Ḫalīl; Hebrew: חֶבְרוֹן , Standard Hebrew: Ḥevron ), is located in the southern West Bank, 30 km (19 mi) south of Jerusalem. Nestled in the Judean Mountains, it lies 930 meters (3,050 ft) above sea level. It is the largest city in the West Bank and home to an estimated 175,000 Palestinians, and over 500 Jewish settlers concentrated in and around the old quarter. The city is most notable for containing the traditional burial site of the biblical Patriarchs and Matriarchs and is therefore considered the second-holiest city in Judaism after Jerusalem. The city is also venerated by Muslims for its association with Abraham and was traditionally viewed as one of the "four holy cities of Islam."

 

Hebron is a busy hub of West Bank trade, responsible for roughly a third of the area's gross domestic product, largely due to the sale of marble from quarries. It is locally well known for its grapes, figs, limestone, pottery workshops and glassblowing factories, and is the location of the major dairy product manufacturer, al-Junaidi. The old city of Hebron is characterized by narrow, winding streets, flat-roofed stone houses, and old bazaars. The city is home to Hebron University and the Palestine Polytechnic University.

 

Jewish settlement after the Six-Day War

 

After the Six-Day War in June 1967, Israel, according to the Allon Plan, was to exchange parts of the West Bank with Jordan in a proposal for trading land for peace, with Israel annexing 45% of the West Bank and Jordan the remainder.

 

Allon thought settlement would determine the country's borders, and submitted to the cabinet a proposal building a Jewish settlement near Hebron. David Ben-Gurion also considered that Hebron was the one sector of the conquered territories that should remain under Jewish control, and have a large Jewish settlement. Apart from its symbolic message to the international community, settling Hebron had a theological significance of cosmic dimensions in some quarters, in that:-

  

'David's kingdom was a model for the messianic kingdom. David began in Hebron, so settling Hebron would lead to final redemption.'

 

Much of the ensuing settlement was planned and financed by the Movement for Greater Israel. Failing to obtain a green light from the government, though with Allon's consent, on Passover in 1968, a group led by Rabbi Moshe Levinger rented the main hotel in Hebron as Swiss tourists, with Haim Drukman presiding over seder, and then refused to leave. A Druze border policeman who had assisted Levinger was shot the next day. The Labor government's survival depended on the National Religious Party, and was reluctant to evacuate the settlers, given the massacre that occurred decades earlier. After heavy lobbying by Levinger, the settlement gained the tacit support of Levi Eshkol and Yigal Allon, while it was opposed by Abba Eban and Pinhas Sapir.After more than a year and a half of agitation, and a bloody attack during Sukkot (October 9, 1968), in which a grenade was thrown, apparently by a Hebron boy, onto the mosque stairs wounding 47 Israeli and foreign visitors, the government agreed to legitimize Levinger's wildcat settlement by establishing a town on the outskirts of the city. in an abandoned military base, which was named Kiryat Arba, 'as if to make the place instantly ancient.' In 1979, a group of settlers led by Miriam Levinger moved into the Dabouia, or former Hadassah Hospital, now Beit Hadassah, in central Hebron, and founded the Committee of The Jewish Community of Hebron near the Abraham Avinu Synagogue. The take-over created severe conflict with Arab shopkeepers in the same area, who appealed twice to the Israeli Supreme Court, without success. With this precedent, in February of the following year, the Government legitimized residency in the city of Hebron proper.The pattern of settlement followed by an outbreak of hostilities with local Palestinians was repeated later at Tel Rumeida. The most violent episode occurred on the 2 May 1980 when 6 yeshiva students died, on the way home from Sabbath prayer at the Tomb of the Patriarchs, in a grenade and firearm attack. The event provided a major motivation for settlers near Hebron to join the Jewish Underground.

 

Supporters of Jewish resettlement within Hebron see their program as the reclamation of an important heritage dating back to Biblical times, which was dispersed or, it is argued, stolen by Arabs after the massacre of 1929.The purpose of settlement is to return to the 'land of our forefathers', and the Hebron model of reclaiming sacred sites in Palestinian territories has pioneered a pattern for settlers in Bethlehem and Nablus. Many reports, foreign and Israeli, are sharply critical of the settlers

 

Hebron was the one city excluded from the interim agreement of September 1995 to restore rule over all Palestinian West Bank cities to the Palestinian Authority Since The Oslo Agreement, violent episodes have recurred in the city. The Cave of the Patriarchs massacre took place on February 25, 1994 when Baruch Goldstein, an Israeli physician and resident of Kiryat Arba, opened fire on Muslims at prayer in the Ibrahimi Mosque, killing 29, and wounding 125 before the survivors overcame and killed him This event was condemned by the Israeli Government, and the extreme right-wing Kach party was banned as a result] The Israeli government also tightened restrictions on the movement of Palestinians in H2, closed their vegetable and meat markets, and banned Palestinian cars on Shuhada Street

 

The Jewish community has been subject to attacks by Palestinian militants, especially during the periods of the Intifadas; which saw 3 fatal stabbings and 9 fatal shootings in between the first and second Intifada (0.9% of all fatalities in Israel and the West Bank) and 17 fatal shootings (9 soldiers and 8 settlers) and 2 fatalities from a bombing during the second Intifada and thousands of rounds fired on it from the hills above the Abu-Sneina and Harat al-Sheikh neighbourhoods. 12 Israeli soldiers were killed (Hebron Brigade commander Colonel Dror Weinberg and two other officers, 6 soldiers and 3 members of the security unit of Kiryat Arba) in an ambush Two Temporary International Presence in Hebron observers were killed by Palestinian gunmen in a shooting attack on the road to Hebron

 

Israeli organization B'Tselem states that there have been "grave violations" of Palestinian human rights in Hebron because of the "presence of the settlers within the city." The organization cites regular incidents of "almost daily physical violence and property damage by settlers in the city", curfews and restrictions of movement that are "among the harshest in the Occupied Territories", and violence and by Israeli border policemen and the IDF against Palestinians who live in the city's H2 sector According to Human Rights Watch, Palestinian areas of Hebron are frequently subject to indiscriminate firing by the IDF, leading to many casualties. One former IDF soldier, with experience in policing Hebron, has testified to Breaking the Silence, that on the briefing wall of his unit a sign des ribing their mission aim was hung that read:"To disrupt the routine of the inhabitants of the neighbourhood." Hebron mayor Mustafa Abdel Nabi invited the Christian Peacemaker Teams to assist the local Palestinian community in opposition to what they describe as Israeli military occupation, collective punishment, settler harassment, home demolitions and land confiscation.

 

An international unarmed observer force—the Temporary International Presence in Hebron (TIPH) was subsequently established to help the normalization of the situation and to maintain a buffer between the Palestinian Arab population of the city and the Jews residing in their enclave in the old city. On February 8, 2006, TIPH temporarily left Hebron after attacks on their headquarters by some Palestinians angered by the Jyllands-Posten Muhammad cartoons controversy. TIPH came back to Hebron a few months later. On May 15, 2006, a member of a group who is a direct descendant of the 1929 refugees, urged the government to continue its support of Jewish settlement, and allow the return of eight families evacuated the previous January from homes they set up in emptied shops near the Avraham Avinu neighborhood. Beit HaShalom, established in 2007 under disputed circumstances, was under court orders permitting its forced evacuation All the Jews were expelled on December 3, 2008

 

Since early 1997, following the Hebron Agreement, the city has been divided into two sectors: H1 and H2. The H1 sector, home to around 120,000 Palestinians, came under the control of the Palestinian Authority. H2, which was inhabited by around 30,000 Palestinians, remained under Israeli military control to protect several hundred Jewish residents in the old Jewish quarter. A large drop has since taken place in the Palestinian population in H2, identified with the impact of extended curfews, strict restrictions on movement with 16 check-points in place, the closure of Palestinian commercial activities near settler areas, and settler harassment Survivors and descendants of that prior community are mixed. Some support the project of Jewish redevelopment, others commend living in peace with Hebronite Arabs, while a third group recommend a full pullout. Descendants supporting the latter views have met with Palestinian leaders in Hebron. In 1997 one group of descendants dissociated themselves from the settlers by calling them an obstacle to peace.

 

A total of 86 Jewish families now live in Hebron.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Sony RX1 User Report.

 

I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.

 

The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.

 

Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.

 

It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).

 

Before we get to anything else, I want to clear the air about two things: Price and Features

 

The Price

 

First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:

 

Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.

Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.

You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”

 

In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.

 

35mm by 24mm by 35mm f/2

 

The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.

 

While we are on the subject of interchangeable lenses and viewfinders...

 

I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.

 

As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.

 

Design is about making choices

 

When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.

 

So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.

 

In short, design is about making choices. I think Sony has made some good ones with the RX1.

 

In use

 

So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.

 

Snapshots

 

As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.

 

I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.

 

To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.

 

Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.

 

Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.

 

How I shoot with the RX1

 

Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.

 

Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.

 

So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).

 

Working within constraints.

 

The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.

 

To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.

 

Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.

 

I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.

 

But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.

 

Pro Tip: Focusing

 

Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.

 

Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.

 

Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.

 

Carrying.

 

I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.

Photo 3/4.

Full frame at F4.8, Bokeh and background blur is similar to the CX (2.7x crop factor) sensor at F1.8.

Effective Aperture of CX sensor = F1.8 x 2.7 = F4.8

 

Subject to background distance: 39 inches (about 1 meter)

Sensor size: Nikon D800: Full Frame, FX (1x crop factor)

Lens: 105mm @F4.8

Picture size normalized to 2400 x1800 pixel.

 

Result: Bokeh of FF sensor at F4.8 is similar to CX sensor at F1.8 (2.7x) of Photo 2/4.