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a-z0-9-i-n-gram-completionist · 8 months ago

Note

1: 0 1 2 4 8 9 a b c d e f g h i j k l m n o p q r s t u v w x y z 32/36 (26/26) (6/10)

2: 08 11 18 19 41 42 84 90 ab ac ad ag ai aj ak al am an ap ar as at av aw ay ba bd be bi bl bo br bs bu by ca cc ce ch ci ck cl co cr cs ct cu cy da dd de df di dl dn do dr ds du dy ea eb ec ed ee ef eg eh ei el em en eo ep eq er es et ev ew ex ey fa fe fi fo fr ft fu ga ge gh gi gl go gr gs gt gy ha he hi hn ho hr ht hu hy ia ib ic id ie if ig il im in io ip ir is it iu iv iz jo ju ke ki kn ks ky la ld le lf li lk ll lm lo ls lu lv ly ma me mh mi mo mp ms mu my na nb nc nd ne nf ng nh ni nk nl nn no ns nt nu nv ny oa ob oc od oe of og oi ol om on oo op or os ot ou ow ox oy pa pe ph pi pl pm po pp pr ps pt pu qu ra rd re rg ri rk rl rm rn ro rp rr rs rt ru ry rz sa sc se sh si sk sm sn so sp sq ss st su sw sy ta te th ti tl to tr ts tt tu tw ty ua ub uc ud ue ug ui ul um un uo up ur us ut ve vi wa we wh wi wo wr xc xe xi xt xu yb yg yl ym yn yo yp ys yx ze zo 290/1296 (282/676) (8/100)

3: 184 190 842 908 abd abl aca acc aci ack acr acs act ade ads age ain ajo ake aki ale ali alk all alm alo als ame ami amp ana anc and ane ang ani ans ant anu any ape app ard are arg ark arl arm aro arr ars art ase ask ass ata ate ath ati ato att atu ave avi awa awr ayb bab bac bal bas bdo bea bed beh bel bet bey bio bis bit ble blo bly bod bon bou bow boy bra bre bst bul bur but cal can cav cce ccy cee cen cep che chi cia cie cin cks cky cle clo clu coc com con cos cre cri cru cti ctu cul cut cyx dar dda dea dee den deo dep der des dfi did die din dis dle dne doe dom don dor dul dur ead eak eal ear eat ebr eci ecr ect edd edi eed eei eem een efe egi egs ehi ein eir eit ela ele elf ell elo elv ely ema eme emo emp ems emu enb enc end eng enh eno ent env eos eou epo eps ept equ era ere eri erl erm ern err ers ert eru ery erz esc ese esn esp ess est eta ete eto etw ety eve evi ewh exc exe ext exu eyo fam far fat fem fer fes fib fie fif fin fir fis for fos fra fro fth fur fus gap gel gem ges ght gic gif gio gir gla glu gol gon gou gre gro gth gys han hap hat hav hea hei hem hen her hes hey hic hig him hin hip hir his hit hiu hna hol hot hou hro hum hus hym ial iar ibe ibi ibu ica ice ich ick icu ide idf ied ien ier ies iet ife ifi ift igh ila ili ill ima imi ims ina inc ind ine inf ing ink ins int inu iny iof ion ior iou ips ird irs isc ise ish iso isp iss ist ite ith iti its itt ity ium ive ize joi jor jus jut ked kel kes kin kiv kne kno ksc lan lar lat lde leg len les let lex lia lie lif lis lit lli llo lls lly lmo loa log lon loo lop lou low lso lue lun lus lvi lym lyp mag maj mak mal man mar mas mat may mel men mer met mew mil min mit moo mor mos mou mph mpl mpr mse mur mus myg nac nad nal nat nbo nce ncl nde ndi ndn ndo nds ndu nec nee nei neo nes nex nfr nge ngs ngt ngy nhn nim nky nly nne nop nor nos not now nox nse nsi nst nsw nta nte nti ntl nto ntr nts ntu nuo nus nve oac oat oba occ oce oci odi ody oes ofi oft ogi ogo ogs oin old ole olo oma ome omi omp omy ona ond one onl onn ons ont ool oos oot ope ops opt ora org ori orm ors ose osi oss ost osu ota ote oth oti oto oug oun oup ous out owe owi oxi oyl par pat pea pec ped pel per pho pic pin ple pli pmh poi pos ppa ppe ppo pre pri pro pte pti pub qua que qui rac rai ral ran rap rat raw rdl rea rec red ref reg rel rem ren res ret rev rge ria rib rig rin rio ris rit rki rks rly rma rmi rmo rms rns roa rob roc rog rom rop ros rou row rpr rra rro rru rsa rse rsi rst rte rth rti rto rts ruc rum rus sac sal sam sav say sch sci scl scr scu sec sed see sel seq ses sha she sid sim sio sis sit siv siz ske ski sma smo soc sof som sop sor spe spi spo squ sso ssu sta ste sti stl sto sts stu sty sua sub suc sue sup sur sus swe syn tai tak tal tan tar tat tea teb ted ten ter tes tha the thi tho thr thu thy tib tic tid tin tio tip tis tiv tle tly tom ton too tot tre tri tsi tte ttl tty tua tud tur tus twe two tyl typ ual uar uat ubi ubs uch uco udi uea uen ues ugh uit ula ume und ung unt unu uou upp ups ure uri urn uro urp urr urs urt usc use usi ust usu uta ute uts vel ver vic vid vil vit war wee wel wer wha whe whi who why win wit xcl xem xio xte xtr xus ybe ygo yle ylo yme ymp ymu yno yon you ypi ypm yst zoo 802/46656 (798/17576) (4/1000)

4: 1842 1908 abdo able ably acce acin acru acti actu adep ages ainf ajor akes akin alis allo alls ally almo alog also amil ampl anal anat ance ands andu aneo ange anim answ ants anus aped appa appe area aren arge arki arks arly arms arou arra arsa arte arti arts ased aske atar ated ater athe atid atio ativ atom atte atty atur avit awar aybe babl back ball base bdom bear bedd behi belo betw beyo biof bitt blog bodi body bone boun boyl brat brev bsta bula burr bute call cavi ccen ccyx ceed cent ceps cept cher chiu cial cien ciet cing cles cloa clus cocc comp conn cons cont cosu cret crib crum ctio ctua ctus cula cuta dard ddar deal deed denb denc deos depo dept desc dfis died dies diet ding disp dnes does dome domi dors dula duri eaki eall ears eart ebra ecia ecre ecti ectu edda edin edis eedi eein eems efer egio ehin eing eith elat elet elop elow elvi emal emel emen emor empl emur enbo ence endi ends engt engy enhn enop enor enti entl entu enve eous epos epti eque eral eran ered eres erio erly ermi erru erse ersi erte erti erto erus escr espe esti esty etal etat eton etwe ever evic evid ewha excl exem exte extr exus eyon fami fatt fema femo femu fest fibu fied fift find firs fish form foss frac frog from furt fuse gely geme gest gica gion gird glan glue gold gona gous grea grou gyst hape have head hear heir here hert herz hese hich high hims hind hing hips hird hite hium hnac hole hoto houg hroa hume hyme hymu iall ibed ibio ibul ibut ical icep icks icky icul idea iden ideo ides idfi ienc iety ifes ifie ifth ight ilar ilia illi imag imal imil imse inal incl inde infr ings inky inse insi inst inte into ints inuo iofi ions ious irdl irst isch ishe isop ispo issu ists ites ithe itio ittl itty ivel join jori just juts kele king kink kive knee know ksch land larg larl late lati latu lden legs leng leta leto lexu liar lier life lifi litt llie llow lmos loac logi logo lond loos lope lops lowe lowi lung lusi lvic lymp lypm mage majo make male mall many mark mass mati mayb mely meno ment meru meta mewh mila mili mina mite moot mora most moun mous mple mpli mpri msel murs musc must mygo naci nads nali nalo nato nboy nclu ndee nder ndin ndne ndon ndul nect neit neou ness next nfro ngem ngth ngys nhna nima nnec nopt norm nost note noxi nsec nseq nsid nsis nste nswe ntai nter ntin ntio ntly ntri ntua nuou nusu nvel oaca obab occy ocee ocie odie oesn ofib ogic ogou oint olde olog omat omen omew omin ompr onad ondo only onne onse onsi onta onti ontr oolo oose ooth oped oper opte oral oria orit orma ormo orsa oses osit osso oste osto osty osus otal oted othe otic ough ound ount oups outs ower owin oxio oylo pare part patt pear peci pelv perl phot pica pine plex plif poin pose posi post ppar ppea ppos pred pris prob proc prop pter ptid pubi quar quea quen ques quit ract rain rang rans rapp rate rath rawr rdle real reat rect redi refe regi rela reme rent rest rete reve revi rgel rges rial ribe ribu righ ring rior rise rity rkiv rksc rmat rmit rmou roat roba roce rogs rope rost roun roup rowe rpri rran rrou rrow rruc rsal rsed rsio rstl rteb rter rthe rtic rton ruco sacr sacs sals same save sche schi scie scle scri scul secr sect seei seem self sequ shap shes side sidf simi sion sist siti sits sive size sked skel skin smal smoo soci soft some sopt sori spec spin spos sque ssor ssue stan stea ster stic stin stio stly stom stot stud styl sual subs such supp surp surr swer syno tain take talk tanc tane tars tata tead tebr tend tera tere teri term tern than that thei them ther thes they thig thin thir this thou thro thus thym tibi tica tick ticu ting tinu tiny tion tips tiss tive toma tomy tons tota toti trem trib tsid tter ttle tual tuat tudi ture turn twee tyle typi uall uart uate ubis ubst ucos udie ueak uenc uest uite ular ulat umer unde undi undn ungs unus uous uppo urin urns uros urpr urro urth uscl uscu used usio usiv usua utan utsi velo vely verr vers vert very vice vide vill vity ware ween well were wers what when whic whit whol wing with xclu xemp xiou xten xtre ygol ylou ymen ymph ymus ynos

yond ypic ypmh ysto zool 815/1679616 (813/456976) (2/10000)

5: abdom accen acing acrum actio actua adept ainfr ajori aking allow almos alogo amili ample analo anato andul aneou angem anima answe appar appea arent argel arges arkiv arksc aroun arran arsal arter artic asked atars atera ather ation ative atomy atter ature avity aware bably balls based bdome bdomi bedda behin below betwe beyon biofi bitty bodie bound boylo brate brevi bstan burro cally cavit ccent ceedi centu cepti cherz chium ciall cienc ciety cloac clusi coccy compr conne conse consi conta conti contr cosus crete cribe ction ctual cular culat cutan ddard denbo dence depos descr dfish dings dispo dness doesn domen domin dorsa dular durin eakin eally earts ebrat ecial ecret ectio ectus eddar eding edisp eedin eeing egion ehind eithe elati eleta eleto elope elops elvic emale emely ement emora empli emurs enboy endin ength engys enhna enopt enorm entio ently entua envel eposi eptid equen erans erest erior ermit erruc ersed ersio erteb ertic erton escri espec estin estio estyl etata etons etwee evers evice evide ewhat exclu exemp exten extre eyond famil fatty femal femor femur festy fibul fifth first fishe forma fosso fract frogs furth fused gemen gical girdl gland golde gonad great group gysto haped heart herto himse hnaci hough hroat humer hymen hymus ially ibiof ibula ibute icall iceps icept icula ideal idenc ideos idfis ience ifest ified ilarl iliar illie image imila imsel inali inclu indee infro insec insid inste inter inuou iofib irdle irstl ischi ishes isopt ispos issue ither ition ittle ively joint jorit kelet kinky ksche lands landu large larly later lativ latur ldenb lengt letal leton lexus lifes lifie littl llier llowi lmost loaca logic logou londo loose loped lower lowin lungs lusio lusiv lymph lypmh mages major makes marks matid matio maybe menop menti merus metat mewha milar milia minal mites mooth moral mount mplex mplif mpris mself muscl muscu mygol nacin nalis nalog natom nboyl nclus ndeed nding ndnes ndula necti neith neous nfrog ngeme ngyst nhnac nimal nnect nopte normo nosto noted noxio nsect nsequ nside nsist nstea nswer ntain ntere ntinu ntion ntrib ntuat nuous nusua nvelo obabl occyx oceed ociet odies ofibu ogica ogous oints olden ologi omati omewh omina ompri onads ondon onnec onseq onsis ontai ontin ontri oolog operl opter orial ority ormat ormou orsal ositi osits ossor oster ostot ostyl other otica ounde oundi oundn outsi owers owing oxiou oylou paren parti patte pears pecia pelvi perly photo pical plexu plifi point poses posit poste ppare ppear ppose predi prise proba proce prope ptera pubis quart queak quenc quest quite racti rainf range rathe reall rectu redis refer regio relat remel rentl resti rever revic rgely rgest ribed ribut right rkive rksch rmati rmite rmous robab rocee roper rosty round roups rower rpris rrang rroun rrowe rruco rsals rsion rstly rtebr rther rtica rticu rucos sacru scher schiu scien scles scrib scula secre seein seems seque shape sides sidfi simil sists sitio sivel skele small smoot socie somew sopte soria speci spine spose squea ssori stanc stead steri stick sting stion stoma stoti studi style suall subst suppo surpr surro swere synos tance taneo tarsa tatar tebra tendi tends teral teran teres terio termi their there thert these thigh thing third thoug throa thymu tibio tical ticks ticky ticul tinuo tions tissu tomat total totic treme tribu tside ttern tuall tuate tudie turns tween typic ually uarte uated ubsta ucosu udied ueaki uence uesti ularl ulatu umeru under undin undne unusu uppos uring urost urpri urrou urrow urthe uscle uscul usion usive usual utane utsid velop verru verse versi verte verti vicep viden video villi wered which white whole xclus xempl xious xtend xtrem ygold ymeno ynost ypica ystom zoolo 622/60466176 (622/11881376)

6: abdome abdomi accent action actual ainfro ajorit allowi almost alogou amilia amplex analog anatom andula aneous angeme animal answer appare appear arentl argely argest arkive arksch around arrang arsals articu atarsa ateral athert ations attern bdomen bdomin beddar behind betwee beyond biofib bodies boylou brevic bstanc burrow cavity ccentu ceedin centua ceptid cially cience cloaca clusio clusiv coccyx compri connec conseq consis contai contin contri cribed ctions ctuall cularl culatu cutane denboy deposi descri dfishe dispos domina dorsal during eaking ebrate eciall ecrete ection eddard edings edispo eeding either elativ eletal eleton eloped emoral emplif enboyl ending engyst enhnac enopte enormo ention entuat envelo eposit equenc eresti ermite erruco ersion ertebr ertica escrib especi esting estion estyle etatar etween everse evicep eviden exclus exempl extend extrem famili female femora femurs festyl fibula firstl fishes format fossor fracti furthe gement girdle glands glandu golden gonads groups gystom hearts herton himsel hnacin humeru hymeno ibiofi ically icepti icular idence idfish ifesty ilarly illier images imilar imself inalis inclus indeed infrog insect inside instea intere inuous iofibu irstly ischiu isopte ispose jority keleta keleto kscher landul largel larges latera lative lature ldenbo length letons lifest lified little llowin logica logous london lowing lusion lusive majori marksc mation menopt mentio metata mewhat milarl miliar minali mplexu mplifi mprise muscle muscul mygold nacing nalogo natomy nboylo nclusi ndness ndular nectio neithe nfrogs ngemen ngysto nhnaci nnecti nopter normou nostot noxiou nseque nsists nstead nswere nteres ntinuo ntribu ntuate nusual nvelop obably oceedi ociety ofibul ogical oldenb ologic omatid omewha ominal ompris onnect onsequ onsist ontain ontinu ontrib oologi operly optera ormati ormous ositio ossori osteri ostoti ostyle otical ounder oundin oundne outsid oxious parent partic patter pecial pelvic plexus plifie points positi posits poster pparen ppears predis probab procee proper pteran quarte queaki quence questi ractio rainfr rangem rather really rectus redisp region relati remely rently restin revers revice ribute rksche rmatio rmites robabl roceed roperl rostyl rounde roundi roundn rowers rprise rrange rround rrower rrucos rtebra rtical rticul rucosu sacrum scherz schium scienc scribe scular sculat secret seeing sequen shaped sidfis simila sition sively skelet smooth societ somewh sopter sorial specia sposes squeak ssoria stance sterio sticks sticky stomat stotic studie sually substa suppos surpri surrou swered synost taneou tarsal tatars tebrat tendin terans terest terior termit therto though throat thymus tibiof ticall ticula tinuou tissue tomati totica tremel tribut tually tuated tudied typica uarter ubstan ucosus ueakin uestio ularly ulatur umerus unding undnes unusua uppose urosty urpris urroun urrowe urther uscles uscula usivel usuall utaneo utside velope velops verruc versed versio verteb vertic viceps vicept videnc videos villie xclusi xempli xtendi xtends xtreme ygolde ymenop ynosto ypical ystoma zoolog 446/2176782336 (446/308915776)

7: abdomen abdomin accentu actuall ainfrog ajority allowin alogous amiliar amplexu analogo anatomy andular angemen answere apparen appears arently arksche arrange articul atarsal atherto bdomina beddard between biofibu brevice bstance burrowe ccentua ceeding centuat clusion clusive compris connect consequ consist contain continu contrib ctually cularly culatur cutaneo denboyl deposit describ dfishes dispose dominal ecially ections edispos eedings elative eletons emplifi enboylo engysto enhnaci enopter enormou entuate envelop eposits equence erestin ermites errucos ertebra ertical escribe especia etatars eversed eviceps evicept evidenc exclusi exempli extendi extends extreme familia femoral festyle firstly formati fossori fractio further glandul goldenb gystoma himself hnacing humerus hymenop ibiofib iceptid icularl idfishe ifestyl imilarl inclusi infrogs instead interes iofibul ischium isopter isposes keletal keleton kscherz landula largely largest lateral ldenboy lifesty llowing logical lusivel majorit marksch mations menopte mention metatar milarly minalis mplexus mplifie muscles muscula mygolde nalogou nboylou nclusio nection neither ngement ngystom nhnacin nnectio noptera normous nostoti noxious nsequen nswered nterest ntinuou ntribut ntuated nusuall nvelope nvelops oceedin ofibula oldenbo ologica omewhat ominali omprise onnecti onseque onsists ontinuo ontribu oologic opteran ormatio osition ossoria osterio ostotic oticall ounding oundnes outside parentl particu pattern peciall plified positio posteri pparent predisp probabl proceed properl pterans quarter queakin questio raction rainfro rangeme redispo relativ resting reverse revicep rkscher rmation robably roceedi roperly rostyle rounder roundin roundne rrangem rroundi rrowers rrucosu rtebrat rticula rucosus science scribed sculatu secrete sequenc sidfish similar skeleta skeleto society somewha soptera special squeaki ssorial sterior stomati stotica studied substan suppose surpris surroun synosto taneous tarsals tatarsa tebrate tending teresti termite therton tibiofi tically ticular tinuous tomatid totical tremely tribute typical ubstanc ueaking uestion ulature undness unusual urostyl urprise urround urrower uscular usculat usively usually utaneou veloped verruco version vertebr vertica vicepti vidence villier xclusiv xemplif xtendin xtremel ygolden ymenopt ynostot ystomat zoologi 297/78364164096 (297/8031810176)

8: abdomina accentua actually ainfrogs allowing amplexus analogou angement answered apparent arkscher arrangem articula atarsals atherton bdominal biofibul brevicep burrower ccentuat ceedings centuate clusivel comprise connecti conseque consists continuo contribu culature cutaneou denboylo deposits describe disposes dominali edispose emplifie enboylou engystom enhnacin enoptera enormous entuated envelope envelops eresting errucosu ertebrat escribed especial etatarsa evicepti evidence exclusiv exemplif extendin extremel familiar formatio fossoria fraction glandula goldenbo gystomat hymenopt ibiofibu icularly idfishes ifestyle imilarly inclusio interest iofibula isoptera keletons landular ldenboyl lifestyl lusively majority marksche menopter metatars mplified muscular musculat mygolden nalogous nclusion nections ngystoma nhnacing nnection nopteran nostotic nsequenc nteresti ntinuous ntribute nusually nveloped oceeding oldenboy ological ominalis onnectio onsequen ontinuou ontribut oologica opterans ormation ossorial osterior ostotica otically oundness parently particul pecially position posterio pparentl predispo probably proceedi properly queaking question rainfrog rangemen redispos relative reversed reviceps revicept rkscherz rmations roceedin rounding roundnes rrangeme rroundin rrucosus rtebrate rticular sculatur sequence sidfishe similarl skeletal skeleton somewhat sopteran speciall squeakin stomatid stotical substanc surprise surround synostot tatarsal terestin termites tibiofib ticularl toticall ubstance unusuall urostyle urroundi urrowers usculatu utaneous verrucos vertebra vertical viceptid xclusive xemplifi xtending xtremely ygoldenb ymenopte ynostoti ystomati zoologic 189/2821109907456 (189/208827064576)

9: abdominal accentuat analogous apparentl arkscherz arrangeme articular bdominali biofibula breviceps brevicept burrowers ccentuate centuated clusively connectio consequen continuou contribut cutaneous denboylou described dominalis edisposes emplified engystoma enhnacing enopteran enveloped errucosus ertebrate especiall etatarsal eviceptid exclusive exemplifi extending extremely formation fossorial glandular goldenboy gystomati hymenopte ibiofibul inclusion interesti isopteran ldenboylo lifestyle markscher menoptera metatarsa musculatu mygoldenb ngystomat nnections nopterans nostotica nsequence nterestin oceedings oldenboyl onnection onsequenc ontinuous ontribute oological ormations ostotical particula posterior pparently predispos proceedin rainfrogs rangement redispose revicepti roceeding roundness rrangemen rrounding rticularl sculature sidfishes similarly skeletons sopterans specially squeaking stoticall substance surroundi synostoti tatarsals teresting tibiofibu ticularly totically unusually urroundin usculatur verrucosu vertebrat xclusivel xemplifie ygoldenbo ymenopter ynostotic ystomatid zoologica 112/101559956668416 (112/5429503678976)

10: abdominali accentuate apparently arrangemen articularl bdominalis brevicepti ccentuated connection consequenc continuous contribute engystomat enopterans especially etatarsals exclusivel exemplifie formations goldenboyl gystomatid hymenopter ibiofibula interestin isopterans ldenboylou markscherz menopteran metatarsal musculatur mygoldenbo ngystomati nostotical nteresting oldenboylo onnections onsequence ostoticall particular predispose proceeding redisposes reviceptid roceedings rrangement rticularly stotically surroundin synostotic tibiofibul urrounding usculature verrucosus vertebrate xclusively xemplified ygoldenboy ymenoptera ynostotica zoological 60/3656158440062976 (60/141167095653376)

11: abdominalis accentuated arrangement articularly breviceptid connections consequence engystomati exclusively exemplified goldenboylo hymenoptera interesting menopterans metatarsals musculature mygoldenboy ngystomatid nostoticall oldenboylou ostotically particularl predisposes proceedings surrounding synostotica tibiofibula ygoldenboyl ymenopteran ynostotical 30/131621703842267136 (30/3670344486987776)

12: engystomatid goldenboylou hymenopteran mygoldenboyl nostotically particularly synostotical ygoldenboylo ymenopterans ynostoticall 10/4738381338321616896 (10/95428956661682176)

13: hymenopterans mygoldenboylo synostoticall ygoldenboylou ynostotically 5/170581728179578208256 (5/2481152873203736576)

14: mygoldenboylou synostotically 2/6140942214464815497216 (2/64509974703297150976)

Why are rain frogs so round? What's /inside/ of them around such an itty bitty skeleton?

So it turns out this is a really interesting question.

The first thing we must be aware of is that rainfrogs as we see them in videos of them squeaking are not quite the same shape as they are when at rest:

[x]

But you are quite right, they are very round. This is exemplified by the skeletal photo you refer to:

[X]

So what are we seeing?

Well, firstly, note that the body cavity in these frogs actually envelops the femurs, such that only the tibiofibula (fused in frogs) and the tarsals and metatarsals are outside the body. The arms are quite similarly enveloped, but a bit of the humerus does extend outside the body cavity too. This predisposes them to a rounder body shape.

Next, note the ilia - the U-shaped bone in the pelvic region. These in some breviceptid frogs are synostotically fused with the sacrum - that is to say, they are bound by bone-based connections to the bow-shaped vertebra at their tips. This whole joint seems to be quite smooth, and as a consequence, the back of the frog is quite smooth. The other thing we can see here is that the urostyle (i.e. the frog version of a coccyx) juts quite far beyond the ischium and pubis. This extends the body cavity beyond the hips. Note also that the pelvic girdle seems to be largely below the spine, rather than the typical position for frogs behind it and continuous with it. This makes the legs sit below the spine, rather than at its end, enhnacing the vertical roundness of the animal.

Next, let’s talk some soft tissue. Now, I’m not as familiar with soft-tissue in frogs as I am their skeletons, so you’ll have to bear with me a bit (rawr). Beddard (1908!!) studied the soft tissue of Breviceps verrucosus Rapp 1842. It seems that the majority of the body of these frogs is actually muscle. Beddard noted that muscles join the leg at the knee that extend into the body cavity, such that the inclusion of the thigh in the body cavity is further accentuated by musculature. The rectus abdominalis muscle is unusually large, extending from the lower abdomen up and around the sides of the body. Indeed, this large size appears to be the pattern with all of the major muscles, though in the throat the typical arrangement of large and small muscles is somewhat reversed. On the lateral side of the head, there is a substance that is not muscle, but appears to be loose tissue in which sits what is apparently the thymus gland.

There is a very large gap between the end of the urostyle and the anus (one fifth of the total length of the frog), in which there are almost no muscles, save for the one surrounding the lower cloaca. On either side of this area, between the posterior-most muscles of the thigh, lie two large ‘lymph-hearts’, as described by Beddard. These are between one quarter and one third of the total length of the frog. A further lypmh-sac sits between these lymph-hearts and the skin of the femoral region, and they are thus probably analogous to the femoral lymph-sacs of other frogs.

I find it interesting that Beddard (1908) did not mention any glandular formations in the dorsal region. As is evidence from many images (see below), these frogs are able to secrete a white, sticky, noxious substance from their skin (which they actually have to use during amplexus, as the male is too small relative to the female to mount her properly, and so he sticks himself to her with his glandular glue… kinky).

[x]

These glands do not apparently take up a great deal of the cutaneous tissue, and so I suppose are of no consequence to the size of the frog, especially relative to its enormous muscles.

The diet of these frogs consists almost exclusively of hymenopterans and isopterans (ants and termites). Neither of these insect groups are particularly fatty, so it is little surprise that their bodies appear to contain no large fat deposits - fatty bodies extend from the gonads up to the lungs and heart, but these comprise only a tiny fraction of the frog’s mass, and don’t contribute to the round shape. Instead, their bodies are extremely muscular, allowing them to be adept burrowers, ideal for their fossorial lifestyle.

So TL;DR: rain frogs are little balls of muscle (maybe the largest muscle mass relative to body mass of any vertebrate? science just doesn’t know).

Ref:

Beddard, F.E. 1908. On the Musculature and other Points in the Anatomy of the Engystomatid Frog, Breviceps verrucosus. Proceedings of the Zoological Society of London, 1908:11-41 [x]

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evoldir · 5 months ago

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Fwd: Other: Budapest.FieldResAss.TropicalAvianEcology

Begin forwarded message: > From: [email protected] > Subject: Other: Budapest.FieldResAss.TropicalAvianEcology > Date: 18 June 2024 at 06:15:55 BST > To: [email protected] > > > The social ecology of reproduction in an island bird > Field Assistant Position Sep-Dec 2024 > Supervisory team: Dr G.C. McDonald, Dr A. Kosztolányi & Prof. Tamás Székely > University of Veterinary Medicine Budapest, Hungary > University of Bath, UK > > > We are looking to recruit a field assistant for a 3-month period to join > our project investigating the role of the movement and the social > environment in influencing patterns of reproduction. The project focuses on > a natural population of ground-nesting plovers on the island of Maio, Cabo > Verde. Our team has investigated the behaviour and ecology of this > well-marked plover population since 2007, facilitating unique insights into > the behaviour, demography, and ecology of this population. The research > will include detailed population monitoring alongside GPS tagging and > tracking of birds. > > What we are seeking: > A strong interest in animal behaviour or avian conservation. > Experience with fieldwork, preferably with birds. > Able to work effectively alone and as part of a team in remote areas for > long periods in hot conditions > Language skills in English are essential. > Additional Portuguese language skills are highly valued. > Basic skills in Excel. > > What we offer: > Training in shorebird science, behavioural and movement ecology. > Experience as part of an international research team including > researchers from Hungary, Austria, United Kingdom. > Opportunity to contribute to conservation on the island in collaboration > with a local NGO. > Contribution to travel to the field site in Maio, Cabo Verde > Basic accommodation for the period of fieldwork and a monthly > contribution to living expenses. > > Interested candidates should contact Dr Grant C. McDonald for further > details or send their CV (max 2 pages) to [email protected] by the > 15th July 2024. > > Selected references: > > Engel, N., McDonald, G., Sandercock, B. K., Rice, R., Moreno, R., Ratão, > S., & Székely, T. (2023). Long-term decline in nest survival of a > ground-nesting shorebird on a tropical island. Global Ecology and > Conservation, 45, e02522. https://ift.tt/O8V9G6q > > McDonald, G. C., Engel, N., Ratão, S. S., Székely, T., & Kosztolányi, A. > (2020). The impact of social structure on breeding strategies in an island > bird. Scientific Reports, 10(1), 13872. > https://ift.tt/82VFNsv > > Székely, T., Carmona-Isunza, M. C., Engel, N., Halimubieke, N., Jones, > W., Kubelka, V., Rice, R., Tanner, C. E., Tóth, Z., Valdebenito, J. O., > Wanders, K., & McDonald, G. C. (2024). The causes and implications of sex > role diversity in shorebird breeding systems. Ibis, 166(2), 357–385. > https://ift.tt/63bwnov > > > Grant McDonald

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postsofbabel · 9 months ago

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#posts of babel #screenreader unfriendly #HTML posts of babel

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a-dinosaur-a-day · 5 years ago

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Xenopsitta fejfari

By Scott Reid

Etymology: Strange Parrot

First Described By: Mlikovsky, 1998

Classification: Dinosauromorpha, Dinosauriformes, Dracohors, Dinosauria, Saurischia, Eusaurischia, Theropoda, Neotheropoda, Averostra, Tetanurae, Orionides, Avetheropoda, Coelurosauria, Tyrannoraptora, Maniraptoromorpha, Maniraptoriformes, Maniraptora, Pennaraptora, Paraves, Eumaniraptora, Averaptora, Avialae, Euavialae, Avebrevicauda, Pygostaylia, Ornithothoraces, Euornithes, Ornithuromorpha, Ornithurae, Neornithes, Neognathae, Neoaves, Inopinaves, Telluraves, Australaves, Eufalconimorphae, Psittacopasserae, Psittaciformes, Psittacoidea, Psittacidae, Psittacinae, Psittacinae

Status: Extinct

Time and Place: 22 million years ago, in the Aquitanian of the Miocene

Xenopsitta is known from the Merkur site of Cheb County in Czechia

Physical Description: Xenopsitta was a small parrot, with very robust feet similar to living African parrots. Despite this, it was probably much smaller than most of them, probably only about half the size as living African Greys or Senegal Parrots. This would mean it is probably somewhere around 16 centimeters in total body length, though that is a rough estimate. Still, in a lot of ways it was a miniature version of a living African Grey Parrot, with similarly short ligaments and strong feet. Xenopsitta also had fairly stout and short wings compared to other parrots, though not to the point of being flightless. We can’t say much more about this parrot, as it has shapes in its feet and wings similar to quite a few different kinds of parrots, though African varieties seem most likely; it would have resembled living parrots in most ways too, with a similarly large head, big and distinctive beak, and possibly colorful feathers.

Diet: As a parrot, Xenopsitta would have been mainly herbivorous, feeding on a wide variety of nuts, leaves, and fruit; though they would have probably supplemented their diet with animal matter such as insects when needed.

Behavior: It is reasonable to suppose, as a bird closely related to a very specific group of living parrots, Xenopsitta would have been an intelligent forager much like they are today, using its large and curved beak to dig around and find food, as well as to make nests in cavities it would create in trees. It would have used its flexible feet to interact extensively with its environment, reaching out to grab things and to manipulate objects. In addition, Xenopsitta would have been very social, living in decently sized flocks and family groups, and talking to each other with squawks and calls aplenty. They would have taken care of their young, probably for a decent amount of time before the young left the nest.

By Ripley Cook

Ecosystem: Xenopsitta lived in a heavily forested environment, probably sub-tropical in terms of temperature with a bit of seasonal variation. There were many types of plants present in the area, including beeches and oaks, walnuts and birches, maples and chestnuts and mangos and mahoganies, citrus, magnolias, roses, and some coniferous trees. Little is known in the way of mammals here, but there were plenty of birds - including the Swift Procypseloides, the owl Mioglaux, the cormorant Phalacrocorax, the loon Petralca, ducks like Nettion and Mionetta, and the giant swimming-flamingo Palaelodus. The present of so many water birds indicates that there was a decent system of rivers and lakes present in the area as well. As for predators, Xenopsitta probably mostly had to watch out for Mioglaux!

Other: Xenopsitta is one of many fossil parrots known from the Miocene of Europe, a location that doesn’t have natural parrots today. This showcases that parrots occurred in a wide diversity in the forests of Europe prior to the Ice Age glaciations, with many different kinds of living groups represented within the sub-continent. Furthermore, it is one of the earlier ones known, which helps to clear up some of the murkiness of parrot evolution - stem-parrots disappear from the fossil record in the Oligocene, with modern-form parrots showing up seemingly out of nowhere in the Miocene. This is then followed by a dramatic extinction of parrots and other later tropical birds from Europe, sometime in the late Miocene, from which Xenopsitta and its descendants would have been affected.

~ By Meig Dickson

Sources under the Cut

Čerňanský, A., M. Venczel. 2011. An amphisbaenid reptile (Squamata, Amphisbaenidae) from the Lower Miocene of Northwest Bohemia (MN 3, Czech Republic). Neues Jahrbuch für Geologie und Paläontologie - Abhandlungen 260 (1): 73 - 77.

Göhlich, U. B. 2003. The avifauna of the Grund Beds (Middle Miocene, Early Badenian, northern Austria). Annalen des Naturhistorischen Museums in Wien Serie A 104:237-249.

Mayr, G., U. B. Göhlich. 2004. A new parrot from the Miocene of Germany with comments on the variation of hypotarsus morphology in some Psittaciformes. Belgium Journal of Soozology 134 (1): 47 - 54.

Mayr, G. 2010. Mousebirds (Coliiformes), parrots (Psittaciformes), and other small birds from the late Oligocene/early Miocene of the Mainz Basin, Germany. N. Jb. Geol. Paläont. Abh. 257 (2): 129 - 144.

Mayr, G. 2011. Two-phase extinction of “Southern Hemispheric” birds in the Cenozoic of Europe and hte origin of the Neotropic avifauna. Palaeobiology Palaeonevironment 91: 325 - 333.

Mayr, G. 2017. Avian Evolution: The Fossil Record of Birds and its Paleobiological Significance. Topics in Paleobiology, Wiley Blackwell. West Sussex.

Manegold, A. 2012. Two new parrot species (Psittaciformes) from the early Pliocene of Langebaanweg, South Africa, and their palaeoecological implications. Ibis 155 (1): 127 - 139.

Mlikovsky, Jiri (1998). "A new parrot (Aves: Psittacidae) from the early Miocene of the Czech Republic". Acta Soc. Zool. Bohem. 62: 335–341.

Pavia, M. 2014. The parrots (Aves: Psittaciformes) from the Middle Miocene of Sansan (Gers, Southern France). Paläontology Z. 88: 353 - 359.

Svec, P. 1981. Lower Miocene birds from Dolnice (Cheb basin), western Bohemia, part II. Casopis pro mineralogii 26(1):43-56

Waterhouse, D. M. 2013. Parrots in a nutshell: the fossil record of Psittaciformes (Aves). Historical Biology 18 (2): 227 - 238.

Xelenkov, N. V. 2016. The first fossil parrot (Aves, Psittaciformes) from Siberia and its implications for the historical biogeography of Psittaciformes. Biology Letters 12: 20160717.

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pamphletstoinspire · 6 years ago

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Book Of Genesis - From The Latin Vulgate - Chapter 15

INTRODUCTION.

The Hebrews now entitle all the Five Books of Moses, from the initial words, which originally were written like one continued word or verse; but the Sept. have preferred to give the titles the most memorable occurrences of each work. On this occasion, the Creation of all things out of nothing, strikes us with peculiar force. We find a refutation of all the heathenish mythology, and of the world’s eternity, which Aristotle endeavoured to establish. We behold the short reign of innocence, and the origin of sin and misery, the dispersion of nations, and the providence of God watching over his chosen people, till the death of Joseph, about the year 2369 (Usher) 2399 (Sal. and Tirin) B.C. 1631. We shall witness the same care in the other Books of Scripture, and adore his wisdom and goodness in preserving to himself faithful witnesses, and a true Holy Catholic Church, in all ages, even when the greatest corruption seemed to overspread the land. H.

—————————-

This Book is so called from its treating of the Generation, that is, of the Creation and the beginning of the world. The Hebrews call it Bereshith, from the word with which it begins. It contains not only the History of the Creation of the World, but also an account of its progress during the space of 2369 years, that is, until the death of Joseph.

The additional Notes in this Edition of the New Testament will be marked with the letter A. Such as are taken from various Interpreters and Commentators, will be marked as in the Old Testament. B. Bristow, C. Calmet, Ch. Challoner, D. Du Hamel, E. Estius, J. Jansenius, M. Menochius, Po. Polus, P. Pastorini, T. Tirinus, V. Bible de Vence, W. Worthington, Wi. Witham. — The names of other authors, who may be occasionally consulted, will be given at full length.

Verses are in English and Latin. HAYDOCK CATHOLIC BIBLE COMMENTARY

This Catholic commentary on the Old Testament, following the Douay-Rheims Bible text, was originally compiled by Catholic priest and biblical scholar Rev. George Leo Haydock (1774-1849). This transcription is based on Haydock’s notes as they appear in the 1859 edition of Haydock’s Catholic Family Bible and Commentary printed by Edward Dunigan and Brother, New York, New York.

TRANSCRIBER’S NOTES

Changes made to the original text for this transcription include the following:

Greek letters. The original text sometimes includes Greek expressions spelled out in Greek letters. In this transcription, those expressions have been transliterated from Greek letters to English letters, put in italics, and underlined. The following substitution scheme has been used: A for Alpha; B for Beta; G for Gamma; D for Delta; E for Epsilon; Z for Zeta; E for Eta; Th for Theta; I for Iota; K for Kappa; L for Lamda; M for Mu; N for Nu; X for Xi; O for Omicron; P for Pi; R for Rho; S for Sigma; T for Tau; U for Upsilon; Ph for Phi; Ch for Chi; Ps for Psi; O for Omega. For example, where the name, Jesus, is spelled out in the original text in Greek letters, Iota-eta-sigma-omicron-upsilon-sigma, it is transliterated in this transcription as, Iesous. Greek diacritical marks have not been represented in this transcription.

Footnotes. The original text indicates footnotes with special characters, including the astrisk (*) and printers’ marks, such as the dagger mark, the double dagger mark, the section mark, the parallels mark, and the paragraph mark. In this transcription all these special characters have been replaced by numbers in square brackets, such as [1], [2], [3], etc.

Accent marks. The original text contains some English letters represented with accent marks. In this transcription, those letters have been rendered in this transcription without their accent marks.

Other special characters.

Solid horizontal lines of various lengths that appear in the original text have been represented as a series of consecutive hyphens of approximately the same length, such as .

Ligatures, single characters containing two letters united, in the original text in some Latin expressions have been represented in this transcription as separate letters. The ligature formed by uniting A and E is represented as Ae, that of a and e as ae, that of O and E as Oe, and that of o and e as oe.

Monetary sums in the original text represented with a preceding British pound sterling symbol (a stylized L, transected by a short horizontal line) are represented in this transcription with a following pound symbol, l.

The half symbol (½) and three-quarters symbol (¾) in the original text have been represented in this transcription with their decimal equivalent, (.5) and (.75) respectively.

Unreadable text. Places where the transcriber’s copy of the original text is unreadable have been indicated in this transcription by an empty set of square brackets, [].

Chapter 15

God promiseth seed to Abram. His faith, sacrifice and vision.

[1] Now when these things were done, the word of the Lord came to Abram by a vision, saying: Fear not, Abram, I am thy protector, and thy reward exceeding great. His itaque transactis, factus est sermo Domini ad Abram per visionem dicens : Noli timere, Abram : ego protector tuus sum, et merces tua magna nimis.

[2] And Abram said: Lord God, what wilt thou give me? I shall go without children: and the son of the steward of my house is this Damascus Eliezer. Dixitque Abram : Domine Deus, quid dabis mihi? ego vadam absque liberis, et filius procuratoris domus meae iste Damascus Eliezer.

[3] And Abram added: But to me thou hast not given seed: and lo my servant, born in my house, shall be my heir. Addiditque Abram : Mihi autem non dedisti semen, et ecce vernaculus meus, haeres meus erit.

[4] And immediately the word of the Lord came to him, saying: He shall not be thy heir: but he that shall come out of thy bowels, him shalt thou have for thy heir. Statimque sermo Domini factus est ad eum, dicens : Non erit hic haeres tuus, sed qui egredietur de utero tuo, ipsum habebis haeredem.

[5] And he brought him forth abroad, and said to him: Look up to heaven and number the stars, if thou canst. And he said to him: So shall thy seed be. Eduxitque eum foras, et ait illi : Suscipe caelum, et numera stellas, si potes. Et dixit ei : Sic erit semen tuum.

[6] Abram believed God, and it was reputed to him unto justice. Credidit Abram Deo, et reputatum est illi ad justitiam.

[7] And he said to him: I am the Lord who brought thee out from Ur of the Chaldees, to give thee this land, and that thou mightest possess it. Dixitque ad eum : Ego Dominus qui eduxi te de Ur Chaldaeorum ut darem tibi terram istam, et possideres eam.

[8] But he said: Lord God, whereby may I know that I shall possess it? At ille ait : Domine Deus, unde scire possum quod possessurus sim eam?

[9] And the Lord answered, and said: Take me a cow of three years old, and a she goat of three years, and a ram of three years, a turtle also, and a pigeon. Et respondens Dominus : Sume, inquit, mihi vaccam trienem, et capram trimam, et arietem annorum trium, turturem quoque et columbam.

[10] And he took all these, and divided them in the midst, and laid the two pieces of each one against the other; but the birds he divided not. Qui tollens universa haec, divisit ea per medium, et utrasque partes contra se altrinsecus posuit; aves autem non divisit.

[11] And the fowls came down upon the carcasses, and Abram drove them away. Descenderuntque volucres super cadavera, et abigebat eas Abram.

[12] And when the sun was setting, a deep sleep fell upon Abram, and a great and darksome horror seized upon him. Cumque sol occumberet, sopor irruit super Abram, et horror magnus et tenebrosus invasit eum.

[13] And it was said unto him: Know thou beforehand that thy seed shall be a stranger in a land not their own, and they shall bring them under bondage, and afflict them four hundred years. Dictumque est ad eum : Scito praenoscens quod peregrinum futurum sit semen tuum in terra non sua, et subjicient eos servituti, et affligent quadringentis annis.

[14] But I will judge the nation which they shall serve, and after this they shall come out with great substance. Verumtamen gentem, cui servituri sunt, ego judicabo : et post haec egredientur cum magna substantia.

[15] And thou shalt go to thy fathers in peace, and be buried in a good old age. Tu autem ibis ad patres tuos in pace, sepultus in senectute bona.

[16] But in the fourth generation they shall return hither: for as yet the iniquities of the Amorrhites are not at the full until this present time. Generatione autem quarta revertentur huc : necdum enim completae sunt iniquitates Amorrhaeorum usque ad praesens tempus.

[17] And when the sun was set, there arose a dark mist, and there appeared a smoking furnace and a lamp of fire passing between those divisions. Cum ergo occubuisset sol, facta est caligo tenebrosa, et apparuit clibanus fumans, et lampas ignis transiens inter divisiones illas.

[18] That day God made a covenant with Abram, saying: To thy seed will I give this land, from the river of Egypt even to the great river Euphrates. In illo die pepigit Dominus foedus cum Abram, dicens : Semini tuo dabo terram hanc a fluvio Aegypti usque ad fluvium magnum Euphraten,

[19] The Cineans and Cenezites, the Cedmonites, Cinaeos, et Cenezaeos, Cedmonaeos,

[20] And the Hethites, and the Pherezites, the Raphaim also, et Hethaeos, et Pherezaeos, Raphaim quoque,

[21] And the Amorrhites, and the Chanaanites, and the Gergesites, and the Jebusites. et Amorrhaeos, et Chananaeos, et Gergesaeos, et Jebusaeos.

Commentary:

Ver. 1. Fear not. He might naturally be under some apprehensions, lest the four kings should attempt to be revenged upon him. --- Reward, since thou hast so generously despised earthly riches. H. --- Abram was not asleep, but saw a vision of exterior objects. v. 5.

Ver. 2. I shall go. To what purpose should I heap up riches, since I have no son to inherit them? Abram knew that God had promised him a numerous posterity; but he was not apprized how this was to be verified, and whether he was to adopt some other for his son and heir. Therefore, he asks modestly, how he out to understand the promise. --- And the son, &c. Heb. is differently rendered, "and the steward of my house, this Eliezer of Damascus." We know not whether Eliezer or Damascus be the proper name. The Sept. have "the son of Mesech, my handmaid, this Eliezer of Damascus." Most people suppose, that Damascus was the son of Eliezer, the steward. The sentence is left unfinished, and must be supplied from the following verse, shall be my heir. The son of the steward, filius procurationis, may mean the steward himself, as the son of perdition denotes the person lost. C.

Ver. 6. Reputed by God, who cannot judge wrong; so that Abram increased in justice by this act of faith, believing that his wife, now advanced in years, would have a child; from whom others should spring, more numerous than the stars of heaven. H. --- This faith was accompanied and followed by many other acts of virtue. S. Jam. ii. 22. W.

Ver. 8. Whereby, &c. Thus the blessed Virgin asked, how shall this be done? Lu. i. 34. without the smallest degree of unbelief. Abram wished to know, by what signs he should be declared the lawful owner of the land. H.

Ver. 9. Three years, when these animals have obtained a perfect age.

Ver. 12. A deep sleep, or ecstasy, like that of Adam. G. ii. 21, wherein God revealed to him the oppression of his posterity in Egypt, which filled him with such horror (M.) as we experience when something frightful comes upon us suddenly in the dark. This darkness represents the dismal situation of Joseph, confined in a dungeon; and of the Hebrews condemned to hard labour, in making bricks, and obliged to hide their male children, for fear of their being discovered, and slain. Before these unhappy days commenced, the posterity of Abram were exposed to great oppression among the Chanaanites, nor could they in any sense be said to possess the land of promise, for above 400 years after this prophetic sleep. H.

Ver. 13. Strangers, and under bondage, &c. This prediction may be dated from the persecution of Isaac by Ismael, A. 2112, till the Jews left Egypt, 2513. In Exodus xii. and S. Paul, 430 years are mentioned; but they probably began when Abram went first into Egypt, 2084. Nicholas Abram and Tournemine say, the Hebrews remained in Egypt full 430 years. from the captivity of Joseph; and reject the addition of the Sept. which adds, "they and their fathers dwelt in Egypt, and in Chanaan." On these points, we may expect to find chronologists at variance.

Ver. 14. Judge and punish the Egyptians, overwhelming them in the Red sea, &c. H.

Ver. 16. Fourth, &c. after the 400 years are finished; during which period of time, God was pleased to bear with those wicked nations; whose iniquity chiefly consisted in idolatry, oppression of the poor and strangers, forbidden marriages of kindred, and abominable lusts. Levit. xviii. Deut. vi. and xii. M.

Ver. 17. A lamp, or symbol of the Divinity, passing, as Abram also did, between the divided beasts, to ratify the covenant. See Jer. xxxiv. 18.

Ver. 18. Of Egypt, a branch of the Nile, not far from Pelusium. This was to be the southern limit, and the Euphrates the northern; the two other boundaries are given, Num. xxxiv. --- Perhaps Solomon's empire extended so far. At least, the Jews would have enjoyed these territories, if they had been faithful. M.

Ver. 19. Cineans, in Arabia, of which nation was Jethro. They were permitted to dwell in the tribe of Juda, and served the Hebrews. --- Cenezites, who probably inhabited the mountains of Juda. --- Cedmonites, or eastern people, as their name shews. Cadmus was of this nation, of the race of the Heveans, dwelling in the environs of mount Hermon, whence his wife was called Hermione. He was, perhaps, one of those who fled at the approach of Josue; and was said to have sowed dragons' teeth, to people his city of Thebes in Beotia, from an allusion to the name of the Hevites, which signifies serpents. C. --- The eleven nations here mentioned were not all subdued; on account of the sins of the Hebrews. M.

#book of genesis

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eatsleepmath · 7 years ago

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Hyperimaginaries, pseudometrics, and uniform spaces

On one hand, there’s a well-known correspondence between pseudometrics and uniform structures; on the other hand, the type defining a type-definable equivalence relation looks like a collection of entourages defining a uniformity. Indeed, passing through the correspondence, type-definable equivalence relations are precisely the distance-0-apart equivalence relation of their corresponding pseudometric, and this is how one can treat hyperimaginaries on equal footing with imaginary sorts (by viewing a discrete first-order structure as a continuous first-order structure.) Apparently, this was one of the motivations for IBY to develop continuous logic.

At some point, I was interested in this, and wrote it down to understand it. What follows are my notes.

The classic reference for uniform structures is Bourbaki’s Topologie Générale, Chapter II, which we will closely follow.

Definition. A pseudometric on a set $X$ is a function $X \times X \overset{f}{\to} \overline{\mathbb{R}}$ from $X \times X$ to the extended real line $\overline{R} = \mathbb{R} \cup \{+\infty\}$ which satisfies all the properties of a metric (symmetric, positivity, triangle inequality) except that $f(x,y) = 0$ does not necessarily imply that $x = y$.

Definition. Let $X$ be a set. A uniform structure, or uniformity, on $X$ consists of a collection $\Phi$ of reflexive relations $U \subseteq X \times X$ satisfying the following conditions:

$\Phi$ is a filter.

If $U \in \Phi$, then there is a $V \in \Phi$ such that \[V \circ V \overset{\operatorname{df}}{=} \{(x,z) \operatorname{\big{|}} \exists y \in X \text{ s.t. } (x,y) \in V \land (y,z) \in V\}.\]

The members $U$ of the uniformity $\Phi$ are sometimes called entourages. Every uniformity $\Phi$ can be given a filter base consisting of symmetric $U$’s.

Families of pseudometrics induce uniformities:

Proposition. (Section 9.2 in Topologie Générale) Let $f$ be a pseudometric on a set $X$. For each $a > 0$, set $U_{a} \overset{\operatorname{df}}{=} f^{-1}([0,a])$. Then the collection $(U_a)_{a \in \mathbb{R}^+}$ forms a filter base for a uniform structure $\mathscr{U}$ on $X$.

Proof. Let $U'$ contain $U_a$ and $U''$ contain $U_b$. Then $U' \cap U''$ contains $U_a \cap U_b = U_{\min(a,b)}$. By definition $\mathscr{U}$ is also upwards-closed. By the triangle inequality, $U_a$ contains $U_{\frac{a}{2}} \circ U_{\frac{a}{2}}$. $\square$

Definition. (9.2.2 in ) Given a pseudometric $f$ on a set $X$, the uniformity defined by $f$ is the uniformity on $X$ which has a filter base of entourages the family of sets $f^{-1}([0,a])$ where $a \in \mathbb{R}^+$.

(This amounts to taking the inverse image under $f$ of the neighborhood filter of $0$ in the subspace $[0, +\infty)$ of $\mathbb{R}$.)

We say that two pseudometrics on $X$ are equivalent if they define the same uniformity.

Definition. (9.2.3 in Topologie Générale) If $(f_i)_{i \in I}$ is a family of pseudometrics on a set $X$, then the least upper bound of the set of uniformities defined on $X$ by the pseudometrics $f_i$ is called the uniformity defined by the family $(f_i)$.

Two families of pseudometrics are said to be equivalent if they define the same uniformity on $X$.

Remark. (9.3 in Topologie Générale) Let $\mathscr{U}$ be generated by the family of pseudometrics $(f_i)$. $\mathscr{U}$ is Hausdorff if and only if every pair of points $(x,y)$ is separated by some $f_i$.

Every uniformity is induced by some family of pseudometrics

Importantly, any uniform structure can be realized as the uniformity induced by a family of pseudometrics.

Lemma. (9.4.2 in Topologie Générale) If a uniformity $\mathscr{U}$ on $X$ has a countable filter base, then there is a pseudometric $f$ on $X$ such that $\mathscr{U}$ is identical with the uniformity defined by $f$.

Proof. Let $(V_n)$ be a countable filter base for $\mathscr{U}$. Define inductively a sequence $(U_n)$ of symmetric entourages of $\mathscr{U}$ such that

$U_1 \subset V_1$, and

$U_{n+1} \circ U_{n+1} \circ U_{n+1} \subset U_n \cap V_n$.

(How? Take $U_{n+1}$ to be the entourage $V$ such that $V \circ V \subset V'$, where $V'$ is the entourage such that $V' \circ V' \subseteq U_n \cap V_n \in \mathscr{U}$.)

Claim. This $(U_n)$ again is a filter base for a uniformity which coincides with $\mathscr{U}$.

Proof.

Each member of $U_n$ clearly contains the diagonal.

Since the $U_n$ were symmetric, any the reverse $U'^{-1}$ of any $U'$ containing $U_i$ again contains $U_i$.

If $U' \subseteq U_n$, and $U_n$ contains $U_{n+1} \circ U_{n+1} \circ U_{n+1}$, then it is easy to check that this must also contain $U_{n+1} \circ U_{n+1}$.

Why is the filter generated by $(U_n)$ again $\mathscr{U}$? It suffices to check that each $U \in \mathscr{U}$ contains some $U_n$. Let $U \in \mathscr{U}$. Since $\mathscr{U}$ is generated by the countable filter base $(V_n)$, $U$ contains $V_k$ for some $k$, and by construction $V_k$ contains $V_k \cap U_k$, which contains $U_{k + 1} \circ U_{k + 1} \circ U_{k+1} \supset U_{k+1}$.

$\square$

Now, we have obtained in place of the countable filter base $(V_n)$ of $\mathscr{U}$ an equivalent countable filtration $(U_n)$ which is also a filter base of $\mathscr{U}$.

We can therefore associate a natural valuation $v(x,y)$ to every pair $(x,y) \in X \times X$, defined by \[v(x,y) \overset{\operatorname{df}}{=} n - 1,\] where $n$ is the index of the first $U_n$ such that $(x,y) \not \in U_n$.

In case $(x,y) \in \bigcap_n U_n$, we say that $v(x,y) = \infty$.

Define as follows the real-valued function $g$ on $X \times X$, by \[g(x,y) \overset{\operatorname{df}}{=} 2^{-v(x,y)},\] so in case $(x,y) \in \bigcap_{n} U_n$, $g(x,y) = 1$.

$g$ is symmetric because each $U_k$ was, positive by definition, and $g^{-1}(\{0\})$ contains the diagonal relation $\Delta_X \subseteq X \times X$ because every $V \in \mathscr{U}$ contained $\Delta_X$.

$g$ does not a priori satisfy the triangle inequality. (If it did, then for each $x,y,$ and $z$ and each value $c - 1$ for $(x,y)$ there would only be finitely many values $a - 1$ and $b - 1$ for $(x,z)$ and $(z,y)$, which is quite strong.)

However, we can build something out of $g$ which does. Define as follows the real-valued function $f$ by

\[f(x,y) = \inf \left\{\sum_{i = 0}^{p - 1} g(z_i. z_{i + 1}) \right\},\] (where the inf is taken over over all finite sequences $(z_i)_{0 \leq i \leq p}$, $p \in \mathbb{N}$, with $z_0 = x, z_p = y$)

Claim. $f$ is a pseudometric which satisfies the inequalities \[\frac{1}{2} g(x,y) \leq f(x,y) \leq g(x,y).\]

Proof.

(Symmetry.) If $f(y,x) = a$ is approximated by a sequence of finite sequences $(z_j \leq p_i)_{i \in I}$, then by reversing the sequences and using the symmetry of $g$, $a = f(x,y)$ also.

(Positivity.) $f(x,y)$ is an inf of sums of nonnegative numbers.

(Triangle inequality.) Let $x,y,z \in X$. When we write e.g. “$x \to z$” we mean to index finite paths starting at $x$ and ending at $z$. We have: \[\inf_{x \to z} \left\{ \sum_{i = 0}^{p-1} g(z_i. z_{i + 1}) \right\} + \inf_{z \to y} \left\{ \sum_{i = 0}^{p - 1} g(z_i. z_{i + 1})\right\}\] \[= \inf_{x \to z \to y} \left\{ \sum_{i = 0}^{p-1} g(z_i. z_{i+1}) \right\} \geq \inf_{x \to y} \left\{ \sum_{i = 0}^{p-1} g(z_i. z_{i+1})\right\} = f(x,y),\] where the latter inequality holds because the infimum on the right is being computed over at least all the paths the infimum on the left is being computed over, and the former equality holds because the two infima are independent (the paths $x \to z \to y$ split into the product $(x \to z) \times (z \to y)$).

(Fiber over $0$ contains the diagonal.) By definition, $f(x,x) \leq g(x,x) = 0$.

($\frac{1}{2} g(x,y) \leq f(x,y) \leq g(x,y)$.) Let’s verify that $\frac{1}{2} g(x,y) \leq f(x,y).$ We proceed by induction on the length $p + 1$ of a finite path $x \to y$ to prove that \[\frac{1}{2} g(x,y) \leq \sum_{ i = 0}^{p-1} g(z_i, z_{i+1}).\] If $p = 1$, then certainly $g(x,y) \geq \frac{1}{2} g(x,y)$, so the base case is proved.

If we set $a \overset{\operatorname{df}}{=} \displaystyle \sum_{i = 0}^{p-1} g(z_i, z_{i + 1})$, then the equation is true if $a \geq \frac{1}{2}$, since $g(x,y) \leq 1$. Suppose then that $a < \frac{1}{2}$. Let $h$ be the first index $k$ such that \[\sum_{i < k}^{p- 1} g( z_i, z_{i+1}) \geq \frac{a}{2}.\]

Note that by choice of $h$, $\sum_{i < h - 1} g (z_i, z_{i + 1}) < \frac{a}{2}$, and $\sum_{i > h -1} g(z_i, z_{i + 1}) \leq \frac{a}{2}$.

By the induction hypothesis, \[\frac{1}{2} g(x, z_{h-1}) \leq f(x,z_{h-1}) = \inf \left\{sum_{i < h} g(z_i, z_{i + 1}) \right\} < \frac{a}{2}.\] Therefore, $\frac{1}{2} g(x, z_{h-1}) \leq \frac{a}{2}$, which implies that $g(x, z_{h - 1}) \leq a$. Similarly, $g(z_h, y) \leq a$.

If $k$ is the integer such that $\frac{1}{2^k}$ is the closest dyadic lower bound on $a$ (with $k \geq 2$ since $a < \frac{1}{2}$), then since $g$ takes dyadic values, \[g(x,z_{h-1}) \leq \frac{1}{2^k} \hspace{2mm} \text{ and } \hspace{2mm} g(z_h, y) \leq \frac{1}{2^k}.\] Since $\frac{1}{2^{(k + 1)-1}}$, then by how $g$ was defined, $(x,z_{h - 1})$ and $(z_h,y)$ are in $U_k$. Since evidently $g(z_{h - 1}, z_h) \leq a$, $(z_{h - 1}, z_h) \in U_k$ as well. Since $U_k \circ U_k \circ U_k \subseteq U_{k - 1}$, $(x,y) \in U_{k - 1}$.

Now, \[g(x,y) \leq \dfrac{1}{2^{k- 1}} = 2 \cdot \dfrac{1}{2^k} \leq 2a.\]

Therefore, $\frac{1}{2} g(x,y) \leq a$. Taking infima, conclude \[\frac{1}{2} g(x,y) \leq f(x,y),\] and the claim is proved.

$\square$

Now we show that the uniformity $\mathscr{U}(f)$ generated by $f$ coincides with the uniformity $\mathscr{U}$. $f^{-1}([0,a])$ contains $U_k$ if $2^{-k} < a$, so $\mathscr{U}(f)$ is certainly coarser than $\mathscr{U}$. On the other hand, each $U_k$ from $(U_n)$ contains the set of all points $(x,y)$ such that $f(x,y) \leq \frac{1}{2^{k + 1}}$, which means that $\frac{1}{2} g(x,y) \leq \frac{1}{2^{k + 1}}$ amd therefore $g(x,y) \leq \frac{1}{2^k}$, so this says that each such $(x,y)$ is inside $U_k$, so $f^{-1}([0, \frac{1}{2^{k + 1}}])$. Since every member of a filter base for $\mathscr{U}(f)$ contains a member of a filter base for $\mathscr{U}$ and vice-versa, they must generate the same uniformity $\mathscr{U}$. $\square$

Theorem. (9.4.1 in Topologie Générale Given a uniformity $\mathscr{U}$ on a set $X$, there is a family of pseudometrics on $X$ such that the uniformity defined by this family is identical with $\mathscr{U}$.

Proof. For every $V \in \mathscr{U}$, inductively define a filtration of symmetric entourages $(U_n)$ such that $U_1 \subseteq V$ and $U_{n + 1} \circ U_{n + 1} \subset U_n$ for all $n \geq 1$.

Claim. The sequence $(U_n)$ is a filter base for a uniformity $\mathscr{U}_V$ coarser than $\mathscr{U}$.

Proof.

If $U'$ contains a $U_i$, then $U_i \supseteq \Delta_X$ by definition, so $U'$ contains $\Delta_X$ also.

If $U'$ contains $U_i$, then since $U_i$ was symmetric, $U'^{-1}$ also contains $U_i$.

If $U'$ contains $U_i$, then since $U_i \supseteq U_{i+1} \circ U_{i+1}$, $U'$ contains $U_{i+1} \circ U_{i + 1}$ also.

$\mathscr{U}_V$ is coarser than $\mathscr{U}$ because the filter base for $\mathscr{U}_V$ is contained inside $\mathscr{U}$.

$\square$

Furthermore, $\mathscr{U}$ is the least upper bound of all the uniformities $U_V$ for $V$ running through $\mathscr{U}$. Therefore it suffices to induce each countably-based uniformity $\mathscr{U}_V$ by a pseudometric, and we have already shown that this is possible. $\square$

Hyperimaginary sorts and uniform structures

A uniformity on a set $X$ given by a filter $\Phi$ of entourages looks suspiciously like a type-definable equivalence relation. Indeed, the intersection $\bigcap \Phi$ is an equivalence relation on $X$, and in the case when $\Phi$ was induced by a pseudometric, $\bigcap \Phi$ is the equivalence relation of points distance $0$ from each other.

More importantly, any type-definable equivalence relation on a model $X$ is the filter base for a uniformity on $X$:

Proposition. Let $E = \bigcap \Phi$ be a type-definable equivalence relation on $X$. Then for every $\varphi_i(x,y) \in \Phi$, there exists another $\varphi_j(x,y) \in \Phi$ such that \[\models \left(\exists z\hspace{1mm} \varphi_j(x,z) \land \varphi_j(z,y) \right) \rightarrow \varphi_i(x,y).\]

Proof. This is just compactness: \[\exists z \hspace{1mm}\Phi(x,z) \land \Phi(z,y) \models \varphi_i(x,y),\] hence \[\left(\exists z \hspace{1mm} \Phi(x,z) \land \Phi(z,y) \right) \land \neg \varphi_i(x,y)\] is inconsistent. Compactness tells us this inconsistency is finitely supported, and since $\Phi$ can be assumed to be closed under finite conjunctions, there is a single $\varphi_j(x,y)$ such that \[\left(\exists z \hspace{1mm} \varphi_j(x,z) \land \varphi(z,y) \right) \land \neg \varphi_i(x,y)\] is inconsistent. Since the above is only a finite conjunction of formulas, saying it is inconsistent is the same as saying that its negation holds, but then by material implication, we have therefore shown \[\models \left(\exists z \varphi_j(x, z) \land \varphi(z,y) \right) \rightarrow \varphi_i(x,y).\] $\square$

Therefore, in light of the fact that every uniformity is induced by a family of pseudometrics, to every type-definable equivalence relation $E$ on a model $M$ we can associate a family of pseudometrics $(f_i^E)$. In light of the fact that every countably-based uniformity is induced by a single pseudometric, when $E$ is equivalent to a countable conjunction of formulas we can then associate to $E$ a single pseudometric $f^E$.

#model theory #continuous logic #uniform structures

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ashxpad · 3 years ago

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Are Cameras Actually More Expensive Now Than Ever Before?

There is a purveying sentiment that cameras have only gotten more expensive over time. While there is certainly some validity in certain sectors of the market, the truth about camera prices over time is a bit more nuanced and complex than the average person makes it out to be. So, let’s take a look.

Please note that all prices are adjusted for 2021 inflation unless otherwise stated.

A Century of Film

While the first practical photographic process, the Daguerreotype, was invented nearly two centuries ago, for our purposes we are going to focus on commercially available cameras — cameras that were accessible and pragmatic for the average person to own. The first camera that falls into this category would be the original Kodak Brownie, released to the public by Eastman Kodak in 1900. Not much more than a cardboard box with a simple meniscus lens, the Brownie was heavily marketed to children, primarily as a method to sell rolls of Kodak film (117 film, originally). Its original price of $1 (equivalent to $32 today) made it both commercially and financially successful.

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The following year, Kodak launched the Brownie No.2 — the first camera to use 120 film — which remains the medium-format standard to this day. Its price of $2, equivalent to about $63 in 2021, and appeal to both children and adults, might make it the vintage equivalent to today’s Fujifilm Instax cameras.

The introduction of 35mm film to the masses occurred in the 1930s and quickly took off as an incredibly popular, affordable, and portable alternative to the medium and large format cameras of the era. The Argus C3, released in 1939, became one of the most popular cameras of all time, selling over two million units — it was also widely used by American World War II photographers such as Robert Capa. Retailing for the 2021 equivalent of $675, the Argus C3 might be seen as an early, analog version of current cameras like the Olympus E-M10 Mark IV or Canon M50 Mark II.

Between 1930 and 1960, we saw a rise from one billion photos taken per year to three billion — a 200% increase. The following decade, from 1960 to 1970, saw a 233% increase to ten billion photos per year — the largest percent increase of the 20th century. This sharp increase came on the heels of the SLR revolution and a massive increase in the number of manufacturers which produced everything from entry-level cameras to professional-level ones. The Nikon F in 1959 was arguably the most notable spark of this fire, which retailed for an adjusted price of $3,350. Cheaper cameras of the same year — the Minolta SR-2 and Canon Canonflex — sold for an adjusted $2,300 and $2,775 respectively.

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We would see prices drop a bit from the 1970s onward, at least for many camera bodies. In 1975, Canon’s flagship F1 sold for an adjusted price of $1,550 while the lower-end FTb was $850. The same year, a Pentax K2 would run $2,500 and the medium-format Pentax 6×7 with a 105mm lens would drain $5,475 from your pocket.

By the late 1980s and early 1990s, things had shifted somewhat — at least for certain segments of the marketplace. The autofocus-enabled, flagship Nikon F4 sported an adjusted price of $5,700 — significantly closer to modern Canon or Nikon DSLR flagships. By this point, however, compact cameras were exceedingly cheap — $150 for a Canon Sure Shot Max and $102.98 for a Minolta Freedom 50.

Unlike today, the vast majority of sales were at the low end — compacts and entry-level SLRs.

The Digital Revolution

While the first DSLR came to market in 1991, it wasn’t until about the year 2000 that digital cameras finally became semi-affordable and realistic alternatives to film. The Nikon D1 is generally considered the landmark camera that turned the tide from expensive Kodak DCS digital cameras to sub $6,000 offerings — the Fujifilm S1 Pro was also released in 2000 and was even more affordable.

The Nikon D1 debuted with a $5,999 price ($9,400 once adjusted for inflation) followed by the D1X and D1H in 2001 — the latter of which featured a $1,500 price drop for a total adjusted price of $6,800. The following year, Canon released its first full-frame camera, the Canon 1Ds, at a price of $7,999 ($11,969 adjusted). The 1Ds Mark II (2004) and 1Ds Mark III (2008) all premiered at the same $7,999 price, though of course, their inflation-adjusted prices diminished comparatively over those years.

Nikon’s flagship line saw a similar trend across the years: D1 ($9,400), D2X ($7,125), D3 ($6,500), D4 ($7,000), D5 ($7,300), and finally the D6 in 2020 at an adjusted $6,750. Canon’s competitor 1DX line saw an almost identical trend, concluding in 2020 at the exact same adjusted $6,750 price with the 1DX Mark III. If you consider these figures, the $6,498 price of the Sony Alpha 1 does not seem excessive at all — and we can probably assume the forthcoming Nikon Z9 to be in a similar ballpark (and perhaps also the Canon EOS R3).

While the prices for high-end Nikon and Canon models have either dropped or stayed quite steady, we have seen significant changes in other areas. Most notably, the highest end of the market — which historically has been medium format — has undergone significant downward shifts in the past decade.

Contrast 2002’s Hasselblad H1D at an adjusted $26,900 to the Pentax 645D eight years later — the first medium format camera to dip below the $10,000 (unadjusted) threshold. In 2014, the successor Pentax 645Z premiered at $8,500 and within just two years we saw the release of the Fujifilm GFX 50S at $6,500 and the Hasselblad X1D 50C at $8,999. Yet another two years later, the GFX 50R marked the first medium format digital camera to be released with an MSRP under $5,000 and the following year Hasselblad’s X1D 50C II debuted at $5,750 — $3,250 cheaper than its predecessor. And, most recently, we have seen the release of a 100-megapixel mirrorless medium format camera featuring IBIS and phase detection autofocus for less than the cost of the Sony Alpha 1 or flagship Nikon or Canon.

Full-frame digital saw the same phenomenon in the past decade — 2013’s Sony Alpha 7 was the first full-frame camera to be released under $2,000. Subsequently, 2019 saw the Canon EOS Rp dip below $1,500 followed by the Nikon Z5 in 2020. These figures are unadjusted for inflation, making the idea that cameras are more expensive now even more of an odd proposition.

What is true, however, is that we have seen a rise in more expensive lenses, like the Nikon Z 50 f/1.8 — or, even earlier, the Sony Zeiss 55 f/1.8 which was released alongside the Sony Alpha 7 and Alpha 7R.

I believe the same factor driving the prices of high-end cameras downward is also responsible for the absence of cheap, name-brand glass. After all, we do still have incredibly affordable (and excellent quality) lenses from companies that not too long ago were seen as significantly worse than first-party optics — Tamron, Sigma, Tokina, Rokinon/Samyang. Even lenses from companies like Yongnuo or Viltrox have recently become well-known for image quality and the ability to punch far above their price class.

As the maturation of the smartphone camera has decimated the bottom end of the camera market, manufacturers have been forced to pivot and focus resources on serious photographers, whether amateur or professional. And as technology has pressed forward, those photographers have sought more and more and more — more dynamic range, more resolution, more frames per second, and so on. Whether or not most people even need these improvements is irrelevant — it is what people want.

And along with that naturally comes the demand for lenses that can live up to the ever-increasing demands of modern sensors, even at ultra-fast f/1.2 apertures. To complicate matters, the mirrorless revolution has driven the desire for smaller and more compact glass. Gone is the time where massive f/1.4 prime lenses like the Sigma Art DSLR line are accepted with open arms. All of this necessitates significantly improved lens designs, superior glass and coatings, precision manufacturing, and increased quality control.

The upshot is, while a lens like the Nikon Z 50 f/1.8 is more expensive than its F-mount counterpart, it is also one of the sharpest, most finely corrected 50mm lenses ever made. This Nikon lens is only one example — the same remains true of Canon’s new RF lenses, Sony’s phenomenal G Master line, Fujifilm’s APS-C offerings, and others. We are consistently seeing mirrorless lenses that outperform their DSLR ancestors, often quite significantly.

What About Leica?

You have probably noticed that I have not mentioned Leica at all. That is because Leica seems to be the only company to buck the trend exhibited by everyone else — not only are its digital cameras significantly more expensive than its cameras of the past, but its lenses are also selling for quite the premium.

In 1986, a Leica M6 sold for $1,695, equivalent to about $4,150 today. A Leica R4 cost an adjusted $2,150 and a Noctilux (50mm f/1.0 at that time) was a mere $2,775 adjusted for inflation.

Contrast that to the Leica M10 in 2017 ($7,250 adjusted) and the current price of a new Noctilux at a whopping $12,795. In fact, a brand new Noctilux 50mm f/1.0 purchased in 1986 would actually have significantly appreciated in value, even including inflation.

The reason for the disparity between Leica and virtually everyone else comes down to the difference between prestige pricing (Leica) and parity pricing (everyone else). The concept of parity pricing is one of competition — you price a product at or less than that of a rival to remain competitive. We have consistently seen manufacturers undercutting each other’s prices — a clear example of this was seen in the medium format arena once Fujifilm entered.

Premium (or prestige) pricing is built on an entirely different model — there are no competitors, so prices can be pushed as far desired, at least until diminished sales begin to outweigh the additional revenue.

So Why Do People Think Cameras Are More Expensive Now?

There are a few factors at work, I believe, that cause consumers to assume or believe that cameras are more expensive than they were five, ten, twenty, or fifty years ago.

Firstly, it is extremely difficult to account for inflation without actually looking at real figures. Most people do not realize that $2,000 from just five years ago is worth $2,250 today. The same figure ten years ago is equivalent to nearly $2,400. We do not generally consider the effects of inflation over such short-term periods, but it does put things in perspective.

Secondly, we have seen a contraction inward of prices — the highest end (medium format) has dropped significantly, while the lowest end has largely disappeared (and therefore appeared to move upward). While we once considered something like a Nikon D5600 to be an amateur level entry point, we now see cameras like the Nikon Z50 or Fujifilm X-S10 in the same way — both significantly more expensive, though also offering newer, more advanced technology.

Finally, with the rise of mirrorless technology and the significant decline of DSLR sales, many of the cameras and lenses we see on the market are quite new. Whereas previously you could have purchased a 24-70mm f/2.8 DSLR lens that may have been on the market for five or more years — and thus almost certainly cheaper than its launch price — most of the options now are comparatively very new. A good number of older Sony FE lenses are marked down from their original price, but we do not see that much with Nikon Z or Canon RF lenses, and even those mirrorless lenses that are five or more years old are not as desirable, either due to image quality or factors like inferior autofocus motors. The relative “newness” of everything, especially the most desirable products, alters consumer perception.

There is one thing that is impossible to deny: the value-based pricing of modern cameras. Camera technology has never been more capable or feature-packed than it is today. Perhaps there is no clearer example of this than the Fujifilm GFX 100S which launched with a price that was $500 less than the GFX 50S — yet it has twice the spatial resolution, includes in-body image stabilization, phase detection autofocus, and so on.

Photography has never been more accessible or more capable, and this year will see 1.44 trillion photos taken across the globe. In the year 2000, 86 billion were taken, making for an increase of 1,574% in the last 21 years. Whether it’s the phone in your pocket, a $500 Micro Four Thirds with a kit lens, or a $6,000 medium format camera, the potential has never been greater or more affordable.

Image credits: Aspects of header photo licensed via Depositphotos.

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kindlecomparedinfo · 5 years ago

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Sony’s new a6600 flagship APS-C camera adds stabilization and over 2x better battery life

Sony announced two new APS-C mirrorless interchangeable lens cameras at a special event in New York today, and the announcements are big news for anyone who’s looking for a small, capable camera that can handle everything from sport shooting to vlogging. The new a6600 flagship takes everything that is great about the a6400 it introduced earlier this year, and adds a big battery boost, in-body stabilization, a headphone jack and real-time eye autofocus for video.

The a6600 otherwise looks nearly identical to the a6400 on paper – it has the same 24.2 megapixel APS-C sensor, ISO sensitivity that expands all the way up to 102400, burst shooting at up to 11 fps, 3k 40p internal HDR recording and the same quality viewfinder. None of that is in any way a criticism, however – these were all excellent specs when they debuted on the a6400 earlier this year, and they’ll serve a6600 owners just as well.

What’s been added should be plenty exciting, however, since it brings the in-body image stabilization (IBIS) that was present on the a6500 but did not make it into the a6400, which was more capable in many other ways. This is a clutch feature for video creators, and that’s a key market for the a6XXX line for Sony, especially with its class-leading reputation for autofocus and high-quality 4K video capture. Ditto the addition of continuous real-time eye AF during movie recording.

Finally, that bigger Z battery (which debuted on the company’s full-frame mirrorless camera line and brought big battery life gains there) will be a boon to video and still shooters alike. The existing battery that powers the a6400, along with the rest of the line, is rated at 360 shots, but that’s very low compared to the a7 III’s 610 shots, and Sony is saying you’ll get over 2x the shooting time with the Z battery in the a6600 compared to its predecessor.

The a6600 retails for $1,400 U.S. for the body alone, and is available in a kit with the 18-135 lens from Sony for $1,800. It’ll be on sale in November.

Sony also unveiled a new entry-level option in its a6XXX line, the a6100. You get a lot of the benefits of the more expensive cameras here, including the same AF system (albeit without real-time Eye AF for movies, which is only on the a6600), and 4K 30p internal recording. You don’t get S-Log or HLG recording options, or HDR, however, and there’s no in-body stabilization. You’re also stuck with the older battery, lower maximum ISO sensitive (51200 in expanded mode) and a lower resolution electronic viewfinder. Still, all told it’s a good bargain – especially since you get Sony’s outstanding real-time object tracking autofocus feature.

The a6100 retails for $750 U.S. for the body alone, and is available in a kit with the 16-50 lens from Sony for $850, or with both the 16-50 and the 55-210 for $1,100. It’ll be on sale in October.

Finally, there are two new lenses which will be hugely beneficial to Sony APS-C camera shooters looking for pro-level options. The E-mount 16-55 F2.8 G gives you a focal range on par with the best glass available on other camera systems, and the E 70-350mm f4.5-6.3 G OSS gives you a really long reach zoom (105-535mm equivalent on a 35mm) with built-in stabilization in a relatively small package. The new 18-55mm lens sells for $1,400 and will be sold in October, and the 70-350mm goes on sale in November for $1,000.

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un-enfant-immature · 5 years ago

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Sony’s new a6600 flagship APS-C camera adds stabilization and over 2x better battery life

The a6600 retails for $1,400 U.S. for the body alone, and is available in a kit with the 18-135 lens from Sony for $1,800. It’ll be on sale in November.

The a6100 retails for $750 U.S. for the body alone, and is available in a kit with the 16-50 lens from Sony for $850, or with both the 16-50 and the 55-210 for $1,100. It’ll be on sale in October.

#TechCrunch

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slrlounge1 · 6 years ago

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Nikon Z7 Full-Frame Mirrorless Camera Review

Time will likely tell that 2018 was one of the most pivotal points in Nikon history. Their Z mount system is an all-new chapter for them, in what are undeniably some of the most exciting, promising, and yet uncertain times for camera makers and photographers alike.

The Nikon Z7 is, however, only one small step into the realm of mirrorless cameras, compared to what the competition is offering.

The All-New Nikon Full-Frame Mirrorless Z Mount

Make no mistake, the Z system itself is an absolutely giant leap forward for Nikon. The mount itself is so large, you could just about fit a medium format sensor inside it. (No, they’re not going to, though.) The mount has fully electronic communication, instead of the mechanical aperture control (or super oldschool autofocus screw) which I dare say ought to have been phased out starting in the 1990’s.

Nikon Z7, Nikkor 24-70mm f/4 S, 1/30 sec, f/5.6, ISO 64

The mount will prove to be an advantage to Nikon, as the lens Nikkor Z and/or S lens lineup expands. Instead of being one of the smallest-diameter mounts of all the major SLR brands, it is indeed now the largest. This will allow Nikon to expand in two directions: exotic lenses such as the imminent Nikon 58mm f/0.95, and compact, portable lenses such as the Nikon 14-30mm f/4.

It may be that eventually, both Canon and Sony find there are certain optical formulas which only Nikon can offer, both for elite and casual photographers.

Nikon Z7 Review

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Timelapse and video footage captured on a Nikon Z7 and Nikon D750

Okay, that’s enough fanboy-ing for me, for at least a month. I promise. Let’s review the Nikon Z7! The camera is amazing, of course, but there’s a lot to discuss, both good and bad. So, let’s get started.

A big thank you for LensRentals.com for letting me take the Nikon Z7 on this amazing adventure!

The Nikon Z7 Versus the Nikon Z6

One of the more significant aspects of Nikon’s FX mirrorless debut is the fact that the Nikon Z7 has a nearly identical “little” sibling, the Nikon Z6.

Why is this so exciting? Because the Z7 is a $3,397 camera and the Z6 is a $1,997 camera. Historically, Nikon has differentiated between these two price ranges in significant ways. For example, the Nikon D850 and Nikon D750 have numerous buttons that are in completely different locations, and some functions and controls are completely absent from the D750.

The only significant difference between the Z6 and Z7 seems to be their sensors; the Z6 having 24 megapixels as well as slightly different autofocus and video capabilities as well. This is basically what Sony has been doing for three generations now, with the A7, A7R, and A7S series cameras.

Nikon Z7 Review: Pros

Nikon Z7, Nikkor Z 24-70mm f/4 S, 1/8 sec, f/10, ISO 64

There’s a lot to like about the Z7. It is more than just a portable D850. Its mirrorless features, especially the new mount, make it a whole different beast.

Here’s the real question: is the camera merely good enough to attract existing Nikon shooters, or is it actually good enough to tempt first-time buyers, or even switchers from Canon, Sony, and other brands?

My answer: The Z7 is impressive enough to earn the consideration of almost all photographers, pro or prosumer. However, there is progress yet to be made.

Nikon Z7 Image Quality

Nikon Z7, Nikkor Z 24-70mm f/4 S – 1/125 sec, f/10, ISO 64, 9-image Panorama

Nikon Z7 – 100% Crop, Fine-Radius USM Applied

The Nikon Z7 has a sensor that is seemingly the same as the Nikon D850, but with the addition of on-sensor autofocus. Indeed, if you’ll recall from my D850 review, the image quality of this sensor is just stunning.

The Nikon Z7’s base ISO of 64 is ready for all types of photography which depend on incredible dynamic range, and clean smooth tones & colors. The Nikon Z7’s 45 megapixels and lack of an AA (anti-aliasing) filter are fantastic for very large prints, and/or significant amounts of cropping.

The shadow recovery of the Z7 has to be seen to be believed. It’s jaw-dropping:

Nikon Z7, Nikkor Z 24-70mm f/4 S, 1.6 sec, f/11, ISO 64

Nikon Z7 Dynamic Range Shadow Recovery Test – shadows boosted ~4 EV

100% Crop, Nikon Z7, Near-Black Shadows

Nikon Z7 Shadow Banding?

An assessment of the Nikon Z7’s image quality would not be complete without speaking to the image samples which show a banding pattern in the shadows.

In short, I tried really hard to reveal it, but couldn’t find any practical-real-world conditions in which it became a problem. It only shows up in the deepest, darkest shadows that are already very noisy. If the D850 was any better, it’s not in my zone of acceptable noise levels, so it doesn’t matter to me. I’ll get far better image quality by just not being lazy, and bracketing a +2 or +3 exposure for those nearly clipped shadows.

Nikon Z7 high ISO Image Quality

Nikon Z7, Nikkor Z 24-70mm f/4 S, 30 sec, f/4, ISO 12800 (This image is good enough for social media, but a large print would show noise)

So, let’s move on to the Nikon Z7’s high ISO image quality. At high ISOs on all cameras there is increased noise, but there is also a loss of dynamic range.

The Nikon Z7 is impressive, but not a big enough leap ahead of the D810 to fully overtake the Sony A7R III’s progress at, say, ISO 12800. The Sony is just a hair better.

Nikon Z7, Nikkor 24mm f/1.8 G, 15 sec, f/2, ISO 3200

Nikon Z7, ISO 3200, 100% Crop (with faint noise reduction and sharpening)

In the real world, though, I just ask myself two simple questions:

First, is the image quality “good enough” for what I shoot? From wedding photography to astro-landscape photography, the answer is yes, absolutely. But to be fair, my cameras have all been “good enough” for 5+ years.

Second, is the image quality significantly different from its predecessors? The answer to this question is, you guessed it, no. For 2-3 camera generations now, we’ve only really seen minor, incremental improvements to high ISO noise/DR.

My final verdict: image quality at all ISOs is already one reason why many photographers, myself included, choose Nikon, and the Z7 is merely a continuation of that earned trust.

In-Body Stabilization

Nikon Z7, Nikkor Z 24-70mm f/4 S, 1/8 sec, f/11, ISO 64, hand-held

Thank you, Nikon, for adopting IBIS (In-Body Image Stabilization) in both the Z7 and the Z6. I hope this feature remains universal to the whole Z system, especially since the Z-mount lenses aren’t stabilized. (Can we please call it IBVR? No? Okay, fine.)

It works really well! I didn’t do scientific tests, because you’re likely to get totally different results based on your hand-holding technique. Suffice it to say, it’s just as good as (or better than) modern lens-based stabilization.

Nikon Z7 Durability and Portability

Nikon Z7, Nikkor 24-70mm f/4 S, 1/5 sec, f/14, ISO 64

One of the things Nikon is known for, compared to the other major brands, is sheer durability. Their cameras can take a beating, whether it’s just the overall solid construction or the extensive weather sealing.

The Nikon Z7 is no exception, with weather seals galore and a metal body that would make a Nikon D5 proud. Heck, Pentax and Olympus, eat your heart out!

Yes, the Canon and Sony competitors may have some weather sealing, but based on the LensRentals blog tear-down of the Z7, it’s clear that the Nikon earns your strongest consideration if you are a foul-weather photographer who often shoots in the rain, snow, or anything else.

I must admit, as a landscape photographer and the owner of a D800e and D750, I was always jealous of the Sony A7R series and the fact that it offered all those megapixels in such a portable form factor. Well, the Z7 answers that landscape photography wish, and then some.

My verdict on durability & portability: Nikon is just really, really good at making cameras. Cameras that just work, and stand the test of time. The Z7 is a continuation of that tradition, and the new lens mount has got me drooling.

The only durability quibble I have is that the sensor is un-protected when changing lenses; I wish Nikon had closed the shutter whenever the camera was turned off, like Canon opted to do with the EOS R. If you never shoot stopped-down this might not be a problem, but I spend a lot of time at f/10-14.

Nikon Z7 Review: Cons

One thing I noticed a lot more of is this message. It’s not very helpful. I could really use some more info on the “camera’s current state”, Nikon!

My first over-arching critique will be this: it’s a first-generation product. So, no matter how happy you might be with this generation, the second generation will likely offer enough improvements to tempt you to buy it, too!

Therefore, the Nikon Z7 will be most-liked by those who definitely have the “early adopter” gene. If you’re the type of photographer who prefers to buy a more polished second-generation product, then you already know what to do: Admire the Z7 for the milestone that it is, but secretly bide your time and keep an eye out for Z7 mk2 rumors.

Personally, I’m only in the “wait and see” category if I can’t afford to be in the “early adopter” category. I love playing with new camera equipment, obviously, and I’d buy it all if I could. I’m just itching to go out on some wilderness adventures with such a portable, practical kit as the Z7 and the new Nikkor Z 14-30mm f/4 S!

With that being said, below are my specific issues with the Nikon Z7.

Single Memory Card Slot

Let’s get the main glaring omission out of the way first: the Z7 has a single XQD card slot, and the D850 has dual card slots. But, a Z7 is $3,397 without an adapter, and a D850 is $3,297. As a working pro, this does not compute.

In my honest opinion, though, it shouldn’t be a deal-breaker for almost all types of photographers except for maybe wedding photography, or some similar genres. Everybody else, calm down! You’ll be fine.

So, why did Nikon only deliver a single XQD card slot? Some folks think there’s a conspiracy to keep selling D850’s, but that is likely untrue since not only is the Z7 a more expensive camera, it may also be cheaper to make, thanks to the significant reduction in mechanical aspects, namely the AF-D motor, the spring-loaded aperture tab, and of course the mirror and all those other “guts”, from the phase-detect AF module to the prism etc. In other words, here is a very good chance that Nikon is able to make more money on a Z7 than a D850, if they could only get the sales numbers to the same level.

Nikon Z7, Nikkor Z 24-70mm f/4 S, 1/4 sec, f/14, ISO 64

Personally, I think the reason Nikon went with just one memory card is simple: It was a major “data pipeline” decision they made as far back as 2-3 years ago when Sony was on its sixth (yes, sixth!) full-frame mirrorless camera with a single, relatively slow SD card slot. Nikon simply miscalculated how important dual card slots were to the majority of the market, especially with the future of wireless mobile device backup, which isn’t perfect yet but is getting close.

At the end of the day, the more common, practical drawback that people will actually face is the fact that XQD cards are very expensive. For example, I recently bought a Sandisk Extreme Pro 128GB SD card on sale for $39, (usually $49) …but a 120GB XQD card can cost $205, if it isn’t on sale for $155.

Autofocus A Good Start, But room for improvement

Nikon Z7, Nikkor Z 24-70mm f/4 S, 1/250 sec, f/4, ISO 64

A few years ago, Nikon patented something called “quad pixel autofocus” which gave me very high hopes. As the name implies, I thought Nikon was onto something that would be even better than Canon’s Dual-Pixel autofocus, and maybe also better than Sony’s hybrid autofocus.

Well, Nikon got close enough that most D850 or D750 shooters will be delighted with the Z7’s autofocus speed and accuracy, in good light.

However, if you’re hoping to match the action/sports focus tracking, or the reliability in pitch dark conditions that Nikon’s current-generation DSLRs offer, then the Z7 may not stack up against either its mirrored brother, the Nikon D850, or its mirrorless competitor, the Sony A7RIII.

By comparison, the Canon EOS R, when paired with the RF 50mm f/1.2, proved to offer the most uncanny low-light autofocus reliability I’ve ever seen, and Sony, on the other hand, has just announced a major AI-based improvement to its already superior Eye AF. So clearly, the competition isn’t standing still, and Nikon needs to continue working fast if they want to keep up.

My verdict: The Z7’s autofocus is great for most types of photography, but if you really like to track active, erratic subjects, or nail focus in pitch-dark conditions, there are better alternatives out there. However, I had no problem “making it work”, and it was a non-issue for landscape and other types of static photography, of course.

No More AF Microadjustment!

Before we move on, I hae a confession: I’m at a point in my photography career where I’m just sick of having to check all my DSLR bodies and lenses every month for front/back-focus. All mirrorless cameras use the sensor itself for all autofocus, so the woes of mirrored SLR autofocus are nonexistent.

To me, this is a practical, real-world advantage that makes the Z7 actually a lot more desirable in terms of AF reliability, despite the room for improvement. Therefore, I’d rather have a Z7 (or a Z6) in almost all lighting conditions.

EVF A Good Start, But Also Room For Improvement

The biggest difference between a mirrorless camera and a DSLR is the EVF, the electronic viewfinder. The Nikon Z7’s EVF looks great, in fact, it has nearly 3.6 megapixels which puts it roughly on par with the Canon EOS R and the Sony A7RIII. (Also, better than the A7III)

In practical use, however, the clarity and overall look of the image is not as beautiful as the Canon EOS R, which is my current favorite after a totally unscientific, “this one looks the best!” assessment.

More importantly, the shutter blackout is indeed an issue. It varies with your shooting mode and shutter settings, but it’s there, and it’s a bit unsettling compared to either the EOS R or the A7RIII.

Personally, I still love optical viewfinders, especially for travel, backpacking, and hiking. I can click photos all day long using the EVF, and barely put a dent in the battery life. So when I consider a mirrorless camera, the EVF needs to be awesome in order to tempt me.

I want an EVF that gives me the WYSIWYG (what you see is what you get) view of my final image, for creative and technical reasons, and also offers completely blackout-free operation. I also particularly like how long exposures are handled on some Olympus cameras- the image reveals itself on the sensor, in real-time, quite like how chemical prints appear during developing.

My verdict: I don’t know if I’d trust it for action sports, (yes, it may work, but it’d still be a compromise compared to a D5) …however I’d certainly enjoy the Z7 for many other types of photography.

An Open Shutter Equals A Dusty Sensor

One thing that I was hoping for was the ability to close the shutter whenever the camera is turned off, to protect the sensor from dust or worse. It’s not currently a feature on the Z7, but theoretically (I hope) it’s something that can be easily added via firmware.

Otherwise, I’m going to have to get in the habit of cleaning my sensor before every timelapse I shoot at f/5.6+. (Currently, Canon’s EOS R closes its shutter when turned off, so we know it is both possible and not a terrible idea.)

Battery Life & Charging

I must admit, the Z7’s battery life is quite good. It just isn’t as good as a D750 or D850, particularly in conditions where the (optical) viewfinder is being used a lot more than live view or video.

It’s almost worth it, though, for the benefits of the EVF and IBIS. Many long-time mirrorless shooters will agree that as long as battery life is at least decent, and not utterly abysmal, (I’m looking at you, NP-FW50!) …the benefits are totally worth it. Just pop a spare battery in your pocket, and you may do even better than you would have with a single EN-EL15a/b battery in a DSLR.

MIrrorless Battery Compatibility & Features, Compared

The Nikon Z7 is compatible with the following batteries: EN-EL15, ($49) EN-EL15a, ($55) and EN-EL15b. ($60) The Sony A7RIII and A7III are only compatible with the NP-FZ100, a $78 battery. The Canon EOS R is compatible with the common LP-E6, and new LP-E6N, both which are around $60.

All of these batteries deliver very good performance; I could easily get 1-2K clicks out of any of them if I tried to conserve battery power.

The elephant in the room is this: Sony is the only system that lets you actually operate the camera directly from USB power while the camera is on. Nikon (and Canon) only let you charge the camera via USB while the camera is off.

For any long day of shooting, this is a huge win for Sony. All the video shooters I know (who use Sony) take advantage of this external power feature; just velcro a 10,000 or 20,000 mAh USB battery to your SmallRig, (or gaff-tape it to the leg of your tripod, if you’re classy like me) …and you can record video all day long, no problem. Compared to those ~$60 batteries, a good quality high-capacity USB battery runs just $30-40.

So, I really hope Nikon (and Canon) figure this out as soon as possible.

By the way, charging the Z7’s battery via USB is so slow, it’s not practical for use in the field. In my tests, it took 60 minutes to charge just 5-10% via a two-amp USB battery. Better results might be possible, but achieving them may involve buying a specific battery pack and cable. (If you have significantly different results, please comment below!)

New, Rearranged Ergonomics

Many things about the Z7’s physical controls will be familiar to existing Nikon DSLR shooter, whether your current camera is a “prosumer” class D750, or a pro/flagship class D850, D500, or D5.

And the grip and overall ergonomics feel great, thankfully. However, a few subtle changes did leave me frustrated, and I think Nikon could have done a better job of making the experience a little more familiar and smooth.

The “drive” mode dial is gone, (S, Cl, Ch, Q, etc.) and has been divided up among menu items on the touchscreen plus a new physical button that is rather inconveniently placed in the bottom-right corner of the back of the camera. Reaching this new drive mode button with my large-ish hands gives me a strong “beginner camera” sensation.

There is also no more dedicated WB button. This means that, as a Kelvin WB user, I can’t just hold down a WB button and crank the actual Kelvin number with my sub-command dial, like I’ve been doing for ~12 years on my Nikon DSLRs. Getting to the Kelvin adjustment while my eye is held to the EVF is nowhere near as effortless as it is on the latest Sony bodies, let alone the “touch dial” customization that I fell in love with on the Canon EOS R.

Nikon has put a lot more emphasis on the new quick menu that is available on the touchscreen, and it takes some getting used to. In some cases, when I’d rather not take my eye away from the viewfinder, Nikon’s functionality changes are a step back from what is so easy to do on a D850 or D750. Then again, in other ways it’s a lot more useful and nifty, especially considering that with a mirrorless camera there are just more functions to deal with, period, and like it has taken Sony a while to get to a good place with their interface and customization, it will likely take Nikon a few generations (hopefully less than 5 years, though) to deliver a truly second-nature interface.

All in all, these are minor complaints, but they’re areas where Nikon could certainly improve. Nikon made a valiant effort to offer familiarity to us older folks who have Nikon DSLR ergonomics ingrained in our muscle memory, as well as such modern advantages as a touchscreen quick menu, and numerous custom function buttons.

Then again, the custom function buttons aren’t totally unlimited in their available options, and the touchscreen can’t control your AF point while it’s off (while your eye is to the EVF) such as can be done on the latest Sonys and the EOS R.

The familiar Nikon AF point joystick is great, but we now have 493 AF points to work with, and the touchscreen really does make controlling them an effortless matter.

If Nikon wishes to fully embrace both past and future generations of photographers, both diversity, and abundance, of features will be critical.

The Nikon Z7’s Mirrorless Competition

So, let’s recap, and collect some of the important details about how the Nikon Z7 compares against the other full-frame mirrorless options out there.

There’s no mistaking, the Sony A7RIII offers a tempting alternative. It’s got dual SD card slots, an advanced AF system, (which will become even more advanced in the spring of 2019!) and a complete arsenal of native lenses, both name-brand and third-party. The list of differences between these two cameras, especially when considering both photo and video modes, is so great it could fill a whole comparison article. So, suffice it to say, if you try the Sony A7RIII and like it, you’ll be joining quite a few of my friends, from landscape photographers to portrait photographers.

On the other hand, there’s the Canon EOS R, at closer to $2K which is decidedly a more prosumer/beginner full-frame camera body, which competes against the Nikon Z6, or the Sony A7III. So, it is in a very different class from the Z7. The Z7’s dynamic range and resolution beat the EOS R at lower ISO’s, but at higher ISO’s the difference is negligible.

The EOS R has that beautiful viewfinder, and the touch-sensitive control dial which I like even though most others don’t, plus those truly impressive RF lenses. Oh, and the fully-articulated LCD screen, if you’re a vlogger. However, the EOS R lacks both IBIS and a 2nd card slot. Compared to the Sony A7III which has both, that’s a tough proposition to even an amateur, let alone a working pro.

My verdict: Only the Sony A7RIII is really in the same class as the Nikon Z7, while the other cameras are left to compete amongst themselves. Both the Z7 and the A7RIII make solid choices, depending on the type of photography you do, and what you’re looking for in the system as a whole.

The Nikon Z7’s DSLR Competition

Really, the only DSLR that the Z7 can be compared against is, of course, the Nikon D850.

The Z7 differs from the D850 in so many ways, and yet it is very similar in some of the ways that matter most. Image quality is essentially the same. Durability might be the same too. But the Z7 will offer a host of advantages, most notably the new lens mount, but also the portability and other benefits that come with a mirrorless system, from the EVF to the IBIS.

If you already have a D850, you have to really want these benefits of mirrorless. If you have a Nikon much older than the D850 or D810, then you’ve got to ask yourself if you’re in the mood to be an early adopter or not.

Nikon Z7 Review | Conclusion

Nikon Z7, Nikkor Z 24-70mm f/4 S, 6 sec, f/10, ISO 64

Here’s my final verdict on the all-around ease of use, features, and advantages plus weaknesses of the Nikon Z7:

Nikon, maybe slowly but surely, is trying to “do mirrorless right”. Indeed, Nikon is not a brand for impatient people, but they do deliver great cameras (and incredible lenses) when they finally do. They don’t always get every cutting-edge bell and whistle perfect the first time, but they do always have a few tricks up their sleeves.

And thus, my assessment of the Nikon Z7 is quite similar to what I’ve felt about Nikon for nearly seven years now, since the D800 and D800e first came out: The Z7 is a high-resolution champ, built rock-solid and reliable, and although it’s not the most high-speed or the most feature-packed mirrorless camera on the market, it’s a great choice nonetheless.

The Z7 is a giant leap for Nikon, and it’s given me reason enough to see what happens next. If you’ve got ~$3,547-$3,997 ready, and don’t mind the relatively minor quirks of a first-generation product, I highly recommend checking out this camera. As with any major decision that involves a whole new system, I would highly recommend holding the camera and taking it for a quick spin, but I bet you’ll like it.

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postsofbabel · 1 year ago

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cameronwjones · 6 years ago

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Top UK Event Agencies: The Ultimate Directory (2019)

Looking for an event or experiential marketing agency? Look no further. We've compiled the most comprehensive list of UK event agencies on the internet for 2019. No joke. From London to Dublin, we got you covered.

From experiential to event marketing to event production to event planning, this agency list will have everything you're looking for. Depending on the type of conference you are planning, you'll want to choose the agency that best aligns with your event goals. To help expand your understanding of event agencies, here's a brief breakdown of each agency type:

Event production - This entails the creative and technical aspects of your event. Event production agencies will make sure to execute your vision from start to finish.

Experiential marketing - These types of agencies focus on having consumers interact with the brand in real-life, in-the-moment ways result in a positive experience.

Event planning - For those new to live events, an event planning agency will make sure that every aspect leading up to the event is taken care of and accounted for.

Event marketing - These agencies do a bit of everything, with the main goal to maximize the exposure of your produce or service through a memorable live experience.

If you'd like your event agency to be added to a future directory or the one you're about to read, you can do so by filling out the event agency application form. And check out our Top US Agencies for another extensive directory.

Table of Contents:

A-C

D-J

K-S

T-Z

Event Agencies: A-C

Agency Headquarters Description

Abbott Mead Vickers BBDO

London AMV BBDO work with over 70 brands and have one simple aim with all of them – to create powerful brand platforms that propel them forwards. They firmly believe in the link between creativity and effectiveness. Creativity is at the core of their DNA and we always operate with passion, integrity and civility. Notable clients: BT, DSG, Sainsbury's, Mars, Camelot

Adam & Eve/DDB

London Adam & Eve/DDB has a simple mission; to work with their client partners to make brilliant events that work. They are defined by having a highly interactive, open way of working - they have a fast-moving, fast-working and collaborative culture. Notable clients: Volkswagen, Lloyds Bank, Waitrose, John Lewis Partnership, Halifax

AOK Events

London AOK Events is an award-winning event management company with a proven track record of organising simply outstanding corporate events. Whatever the brief, whatever your numbers, whatever the budget, whatever the timescale; AOK Events will deliver a truly memorable event experience for you and your guests, every time. Notable clients: LinkedIn, Elizabeth Arden, Microsoft, Innocent, Laing O'Rourke, Michelin and Deloitte

Ashfield Meetings & Events

Ashby-de-la-Zouch, Leicestershire Ashfield Meetings & Events is a leader in healthcare events. They are a full-service international event management company that delivers exceptional quality. They provide certainty, impact and results, every time.

Aspect

North Yorkshire Aspect Events is a small company that takes guests to fascinating places for enjoyable short breaks in congenial company. Notable clients: HEBRIDEAN, P&O, SAGA and NOBLE-CALEDONIA

ATPI Corporate Events

London ATPI Corporate Events are “experts in experience concepts”. Experiences designed to engage, strengthen ties and build loyalty to you. Their goal is to make your organisation better by developing dynamic solutions to your event challenges. Notable clients: KPN, ING Car Lease/ Alphabet, Staples Europe, Heineken International, Hyundai

Banks Sadler

London Banks Sadler prides themselves in their unique in-house offering, including consulting and advisory services for creative event production and design, venue sourcing, event management, travel management and event technology.

Bartle Bogle Hegarty

London Bartle Bogle Hegarty is a full-service, creatively-led agency and their capabilities include: brand strategy and identity, comms planning, creative development across all media; TV, film and digital video production; digital UX, design and build. Notable clients: Virgin Media, Tesco, KFC, Audi, Barclays

BETC London

London BETC believes in the power of creativity to connect through culture and drive business results. Their work has always stood out for its contemporary style, creative craft and cultural impact. Notable clients: Airfrance, Aptamil, Coty, Disneyland, ibis

Blitz A GES Company

London From breath-taking projection mapping installations, to top of the range widescreen blending displays, we make sure your next live event leaves a lasting impression. Whether you want to demand attention, inspire your audience, or encourage interaction, we’ve got you covered.

BMB

London In "The Age of the Audience", advertising has to be the start of something not the end of it. BMB develop ideas that create their own energy, ideas with reach and influence built in, ideas that get under the skin of culture. Notable clients: Samsung, Tapi, Hilton, KP, Ka

Bompas & Parr

Bermondsey, London Bompas & Parr knows how to tell great stories. They are globally recognised for their multi-sensory experience design. The studio works with artistic institutions, commercial brands, private clients and governments to deliver emotionally compelling experiences. Notable clients: Diageo, Cargill, Mercedes-Benz, Fleurs des Rêves, BMOF, FUNLAND

Bray Leino

Devon By helping their clients thrive in an ever-changing world, Bray Leino aim to become the most recommended marketing agency in the UK. By adapting to the changing environment and evolving in ways that confound their doubters, their net promoter score of +67% suggests they are well on the way to achieving that aim. Notabe clients: thirst pockets, gsk, DRP, CCK, AT&T

Brothers and Sisters

London Brothers and Sisters are a bunch of creative people who have come together to do groundbreaking creative work across lots of different media. They provide best-in-class strategic and creative thinking to deliver big emotional ideas, and they combine this with the innovative skills and technical know-how of a specialist digital agency. Notable clients: Sky, Carphone Warehouse, Elevate, Center Parcs, AOL

Capita Travel & Events

London Capita Travel & Events is not your average travel, meetings and events management company. They help organisations realise the value of smarter working, achieving cost savings without compromising value to your employees. Cascade Productions Sale Cascade Productions own specialist equipment and tools; cameras, video edit suites and display systems, they hire everything else from their long term strategic partners – that means that they are always able to offer the latest and most appropriate technology for every project. Notable clients: Iceland, dwf, IWM, alpro, XBOX

Cheil London

London As a full service agency Cheil London has plenty of experience in digital, shopper marketing, experiential, traditional advertising, social, retail design and sponsorship. Notable clients: Samsung,Coca-Cola,Etihad Airways,Lego, BBC

CHI & Partners

London CHI & Partners believe the power of creativity can super-charge a business and transform it into an iconic brand. They make populist, 360-degree creative campaigns that capture the imagination of the nation. Notable clients: Argos, British Gas, TalkTalk, Lexus, News UK

Chillisauce

London Chillisauce is one of the UK’s largest and fastest growing event agencies, helping over 160,000 customers to create memorable activities and experiences across the UK, Europe and USA every year. Notable clients: Sony, 4, BUPA, Cadbury, Google, Nike

Clive Agency

London Clive Agency helps brands communicate: live. Experiential brand experiences and live events are their thing. Theyuse them to help brands motivate, tell stories, express their personalities & engage with people. Notable clients: Facebook, Instagram, BT, BP, Cannon

CMM

London CMM creates inspiring conferences, corporate events and incentives, ensuring their clients’ messages are communicated effectively to their audience. Quality, hassle free event management is a given but, what makes CMM different, is their energy and our ideas. Notable clients: Utilities, RVM, Linds ON, Wo

Communique

Brackley, Northants Communique is an eclectic mix of people from diverse backgrounds. They have event industry veterans working alongside creators, designers, technicians, builders, strategists and planners. Their brand ambassadors complement the core team and our trusted partners complete the Communique offering. Notable clients: Panasonic, EE, DirectLine, Novarits,Internal Communications

Conference Care

Hinckley, Leicestershire Conference Care are award winning venue finders, offering venue finding services in both the UK and anywhere in the world. Notable clients: P&G, SKY, NESTLE, abbvie, ADAS

Corporate Events

Hillmead Corporate Events is an integrated event production company delivering live events, creative design solutions, and technical event production who is passionate about creating engaging and memorable experiences that truly inspire. Notable clients: HONDA, Muller, HEINEKEN, BMW, Panasonic

Corporate Innovations

Banbury, Oxfordshire CI Group is a full service communications group comprising of three specialist agencies, Corporate Innovations for BTL Activations, Roundtable Agency for Brand Communications, and Ellipsis for Creative Design and Event Production. Collectively they span all the skills necessary to create multi-disciplinary integrated campaigns. Notable clients: ADOBE, Samsung, VM ware, HTC, Coca cola, gsk

Creature of London

London Creature of London is a stubbornly independent advertising agency, owned and run by its three founding partners. Fuelled by intelligent misbehaviour (breaking the rules, in the right way, for the right reasons), they have made work that real people can’t help but care about. Notable clients: Anchor, Arla, Bafta, Collect+, Tetly

CWT Meetings & Events

Paris, Boulogne Billancourt Cedex CWT Meetings & Events delivers 35,000 innovative, high-quality projects for customers every year – across all industry sectors, globally. Their creative know-how helps them deliver awe-inspiring events, and their logistics expertise guarantees professional meeting services, group travel, and compliance.

Event Agencies: D-J

Agency Headquarters Description

DVS Ltd

London Boutique event agency that provides tailor-made service within events management and pr communications.

drp

Hartlebury, Worcestershire drp is a communications agency, and that means they work with, and for, people. Whether it’s live events, exhibitions, digital, video or print – they always provide the right medium, for the right message and deliver it with unrivalled engagement, innovation and results. Notable clients: Clyde & Co, EE, NHS, Worcester Bosch, RS Components

emc3

London EMC3 is a collection of creatives and events specialists dedicated to building a unique and memorable story experience—producing events that inspire, motivate and move. Notable clients: Google, LinkedIN, BNP Paribas, HP, Vodaphone

Experience

London Experience is a creative production agency, based in London, UK. They are experts in inventing, designing and producing unique experiences, for every type of audience, in any space, across the globe. Notable clients: Facebook, Capital One, Playstation, The Guardian, KPMG

Event Travel Management

London Event Travel Management (ETM) provides professional event management services such as travel incentives and corporate events which deliver value through creative and meticulously planned events. Notable clients: CBS, No MaRo, BRB, Cisko,ATT

Fallon London

London In today's world of multiple media channels Fallon London's philosophy of using creativity to outsmart the competition is even more relevant today than it's ever been. Notable clients: AXA, ŠKODA , Expedia, Deliveroo , Netflix

FCB Inferno

London FCB Inferno is a London based creative agency with capabilities that stretch from all things digital, to above the line, and everything in between. The business is built on the philosophy that ‘The World Needs More Interesting’. In an era where everywhere you turn a brand is fighting for your headspace FCB Inferno strives to achieve this in ways that make the world a more exciting and inspiring place. Notable clients: BMW, Beiersdorf, Sky, UK government, npower

FIRST

London FIRST provides world-class event delivery, creative development and technical production for a wide range of clients and international brands. Notable clients: AOL, Fresenius Medical Care North America, MasterCard, The New York Times, UNICEF

Fisher Productions

London Fisher Productions are a leading creative event production and event management company with over 30 years’ experience. Their knowledgeable event experts design, produce and manage tailor-made events for a wide range of corporate and private clients. Notable clients: Cooper Collection, The Royal Academy of Arts , Fraser Autumn , CARE

Fold7

London Fold7 help brands become relevant to 21st century consumers: relentlessly relevant. They do it by moving beyond the traditional ad agency model, staying at the forefront of culture, and creating ideas that connect with your audience wherever they are. Notable clients: Hilton, Money.co.uk, Gumtree, audible, Samsung

GrassRoots

Tring, Herts Grass Roots is the incentive company with the widest range of rewards and benefits for your employees and customers.Their products and solutions (many of them exclusive) enable businesses to connect with new customers, grow their market share, and enhance customer loyalty. Notable clients: Ford, Microsoft, Arla, BDA, BNP Paribas

Gray Dawes Group

Colchester Gray Dawes is one of the UK’s leading independent corporate travel agencies. Notable clients: Honda, CRP, BBC, AitMida, P&G

Great Events UK

London Great Events UK is a professional travel and destination management organisation serving London, Cambridge and the south of England. We put our unrivalled local knowledge, resources and team of experts at your disposal to create truly memorable experiences that you won’t forget.

Grey London

London Grey London is an open, ambitious collision of almost 500 people working in London’s Hatton Garden. They are a creative company on a mission to make a different shape of work, partnering with the world’s most ambitious brands to play a meaningful role in culture. Notable clients: Vodafone, Procter & Gamble, GSK, Volvo, Coty

gyro

Devon gyro is the first full-service, global creative B‑to‑B powerhouse. Their mission is to create ideas that are humanly relevant. Notable clients: Aflac, Danone, eBay, Google, HP, John Deere, TD Ameritrade, Teva

Havas London

London Havas London make a Meaningful Difference to the brands, the businesses and the lives of the people we work with. Services include brand advertising, digital marketing, strategic consultancy, content marketing, social media strategy & production. Notable clients: RB, Peugeot, Citroën, Birds Eye, Heathrow

Home

London Since HOME opened in 2015, 1.8 million of you have already visited them, to see thrilling theatre and dance shows, experience great independent films from across the world, dive into the new art in our galleries, relax in our café and browse their bookshop. Notable clients: Jet2.com, Sky Bet, EU Lotto, William Hill, 188bet.com IMAGINATION London Transforming business through creativity, Imagination create connecting experiences that consumers love more closely, more actively and more lastingly. They believe that through a blend of physical and digital, experiences will inspire, transform and last. Notable clients: Brown-Forman, Canon, Delphi, Ford, Shell

In2Events

Waterlooville, Hampshire In2Events are an award winning brand experience agency specialising in global events, exhibitions and experiential. They create exceptional experiences that connect brands with the people that count; their customers, partners and staff. Notable clients: AUDATEX, GoogleDeepmind, AUTODESK, INGRAM MICRO, EPSON

Innocean Worldwide UK

London INNOCEAN Worldwide was founded in 2005, and mainly manages the global marketing communication of the Hyundai Motor Company. With 22 offices in 17 countries and over 1,600 employees, we establish and carry out brand communication strategies, and provides total marketing solutions for our 50+ clients. Notable clients: Hyundai, Google, AXN, BreMuda, Netflix, Samsung

Inntel Group

Feering, Essex Inntel Group is the UK’s largest independent meetings & travel management company. For over 30 years they’ve been selecting venues, managing events, sourcing travel and accommodation, exceeding the expectations of hundreds of companies along the way. Notable clients: nPower, The Law Socety, iFOA, FirstGroup

Iris

London Iris is a global creative innovation agency, where brave brands are built, ideas have guts and rebellious work reaps rewards and awards alike. But they don’t just build brands; they build Participation Brands. Iris give them a purpose and relevance in today’s society and help them to innovate and shape culture. Notable clients: Wickes, Domino's, BMW, Barclaycard,Monarch

J Walter Thompson London

London J. Walter Thompson Worldwide, the world’s best-known marketing communications brand, has been making pioneering solutions that build enduring brands and business for more than 150 years. Notable clients: HSBC, Debenhams, Mazda, Nestlé,McNeil Healthcare

Event Agencies: K-S

Agency Headquarters Description

Karmarama

London Karmarama is the UK’s most progressive creative agency. They combine creative excellence with technology-inspired solutions. This means they can help clients with their business challenges now, as well as plan for their business opportunities next. Notable clients: Iceland, Confused.com, Plusnet, AO.com, Just Eat

Krow Communications

London Founded in 2005, Krow Communications is a full service creative communications agency, still owner managed and fully independent. You’ll find no network agency politics or shenanigans here. Notable clients: DFS, Fiat, Virgin Trains, Ferrero, Pets at Home

Lucky Generals

London Lucky Generals elevator pitch is that they are “a creative company for people on a mission”. The company creates memorable campaigns for a wide range of brands. Notable clients: Viamo, Ford, BBQ, Sprint, BRC

Live Union

London Live Union are a full-service event agency. Through innovations in technologies and formats they re-imagine live experiences. Live Union understand the fast changing role of live for businesses and audiences, and deliver ground-breaking events around the world. Notable Clients: Visa, Santander, Post Office, Oracle

M&C Saatchi

London M&C Saatchi PR is a creative communications agency launched to meet the modern needs of modern brands. Notable clients: NatWest, Public Health England, Transport for London, Slater & Gordon, Boots

Mainstage Live

London Best in live entertainment, hand-picked front singers that will interact with your audience and provide the ultimate party atmosphere

MD Events US Limited

Bracknell, Berkshire MD events are experts in planning and delivering meticulously managed events to businesses around the world. are a full-service agency, keeping costs down and management streamlined with an end-to-end solution.

Mother

London Mother is one of the world’s most respected, independent creative companies, and sits at the heart of advertising, experiential, digital, design, and product development. Notable clients: Boots, Moneysupermarket.com, Ikea, Halfords, Unilever

MullenLowe London

London MullenLowe a creatively driven integrated marketing communications network with a strong entrepreneurial heritage and challenger mentality. They use creativity to get our clients’ brands an unfair share of attention. Notable clients: Unilever, Seat, UK government, Post Office, Morrisons

Ortus Club

London The Ortus Club organizes executive knowledge sharing groups worldwide for senior peers to come together and discuss topical issues within their sector. We focus most of our sessions in Singapore, Hong Kong, Philippines, UK and Australia.

Penguins

Windsor, Berkshire Penguins combine your big ideas with their professionalism, add a generous dash of innovation, and then bring all the details together, using their thorough and methodical approach. The result is a fantastic and memorable event of exceptional quality. Notable clients: Uniliver, Ryman, gsk, ACCOR, British Airways

Perception Live

London, UK Perception is an event production agency based in London.

Principal Global Events

Tring, Herts Principal Global Events have been leaders in the global events business for over 20 years, working with some of their clients for more than 17 years. They're a safe pair of hands, not just financially through their ATOL-bonding, but because they constantly here, working to make your event extraordinary. Notable clients: dsa, M7IT, m&IT, AOL, Silver

Production Bureau

Norwich Production Bureau delivers spectacular live events, interactive exhibitions, employee engagement gatherings, creative brand identities and bespoke technical solutions. From creation to production, they do everything in-house. Notable clients: Audi, Carrier, Volvo, Harley-Davidson, Vokswagen

Proximity London

London Proximity London is an all-round creative agency always coming up with big ideas for beautifully effective campaigns across every channel from direct to digital, social to mobile. Notable clients: Volkswagen, RNLI, Martini, The Economist, Guide Dogs

Pure Event Management & Hospitality

London Pure Event Management & Hospitality is a young, dynamic, service driven and creative events agency which specialises in producing bespoke event solutions globally. They consider ourselves to be ‘Corporate Creatives’. Notable clients: pB&R, LLYODS,MEC,William Blair, Hamtons International

Purple Patch Group

London Purple Patch Group uniquely offers its clients a full event management service along with a dedicated Presentation and Film Production division that brings our clients message to life. Notable clients: Sainsbury's, Schneider Electric, The NHS.

Rapiergroup

Ware Working in the financial, automotive, technology, pharmaceutical, medical, aerospace and defence sectors, Rapiergroup offers all aspects of event, exhibition and experiential marketing. Notable clients: Renault, Audi UK, Daiichi Sankyo, SWIFT Sibos, Infiniti Europe

Red Brick Road

London SAt Red Brick Road, they create followings. They develop ideas that people are magnetically attracted to. Ideas that entertain, excite, challenge, interest, attract and resonate with the individual, community and culture. Notable clients: Experian, Suzuki, Rail Delivery Group, Yorkshire Building Society, Just Eat

Reed & Macay

London Reed & Mackay delivers corporate travel management for professionals with exacting needs. They combine inspired service with state-of-the-art technology to create a level of travel management like no other and deliver value you might not believe possible. Notable clients: CGRS, YouTube, Mrt, Cisco, NRT

Saatchi & Saatchi

London Saatchi & Saatchi launched in 1970, with the philosophy that “Nothing is Impossible” – a statement that is carved into the steps of their London building. This spirit remains fundamental to our approach. Now they area a full service, integrated communications network, with 114 offices in 67 countries. Notable clients: Procter & Gamble, EE, Direct Line, Toyota, Asda

Sledge

London Sledge builds the strategy, create compelling content and deliver exceptional live experiences and film. They provide a beginning to end solution for live events and film creation, from strategy to content and venue location to faultless delivery. Notable clients: HPE, Falcon, O2, Co-op, Telefonica

Smyle Group

Hertford, Hertfordshire Smyle Group is passionate about fusing creativity with technology, to deliver extraordinary live events and innovative digital experiences around the world. Notable clients: Hitachi, Red Bull Racing, Blackberry, Viking Sea Christening, The Ryder Cup

SomeBrightSpark

Leicester SomeBirghtSpark is a multi-disciplinary agency; engineers of live corporate events and authors of creative content. They produce corporate events including product launches, live award ceremonies, conferences and exhibitions while the in-house design team produces all of the creatives for each event. They are creative and innovative with the use of technology, creating immersive and highly experiential experiences for their clients.

Space City Productions

London Space City Productions produce TV, online and radio adverts that deliver instant and long-term responses for your business. They provide a complete service from script to screen including extensive in-house facilities we can work to tight timescales and budgets. Notable clients: Rolo, abellio, cutoutme, PALMER'S, Primula

St Luke's

London St Luke's is a top 25 independent creative agency, owned and run by their management team. What sets them apart is their ability to help clients set powerful new agendas in their market. Any good creative agency can provide you with a good campaign. St Luke's will help you set a new agenda. Notable clients: Shop Direct, Heineken, W&P, Elevate, GRX

Event Agencies: T-Z

Agency Headquarters Description

TBAPLC

London TBAPLC help the world’s leading brands excite consumers, inspire business partners and engage employees by creating outstanding experiences. Notable clients: HSBC, Citi, eBay, Facebook, Samsung

The Appointment Group

London The Appointment Group is an award-winning global, independent event and corporate travel management company. Notable clients: Platts, Samsung, Epson, NTT Com Security, MTV

The Black Tomato Agency

London The Black Tomato Agency are specialists in delivering world class group travel and prize incentives. The agency works with some of the top brands, agencies and companies on the planet to deliver ‘wow factor’ solutions ranging from international events for hundreds of people to individual prize winner experiences. Notable clients: BMWI, USTWO, VIRGIN MEDIA, XEROX, DISCOVERY CHANNEL

The fresh Group

Manchester, Cheshire The fresh Group has a business culture and approach to work unlike any other enabling us to attract and retain the best fresh talent. With honesty, bravery, energy, talent, humour and respect they work together, through joined-up thinking, to make amazing things happen.

TMB Events

Oxfordshire TMB brings corporate events and promotional marketing projects to life in a unique and confident way. After years of experience creating bespoke events and marketing programmes their complementary services are seamlessly integrated and sharply focused on exceptional quality and value. Notable clients: Tesco GM, BFFF, Audi, Tesco, OUFC

Top Banana

Broome Top Banana creates truly remarkable events and communications for leaders who want to make a connection with their audience. They do this through emotional and rational engagement that connects the head and the heart. Notable clients: COTY, KERING, wilko, Bacardi, BENTLY

Touch Associates

Leatherhead, Surrey Touch Associates design, create and touch every aspect of an event, communication or digital campaign. Touch define the strategy, source the venue, manage the logistics, create amazing content, build immersive digital experiences and handle all AV production... and they do it all with a single purpose: to maximise the impact of audience engagement. Notable clients: Amadeus, FIFA, Merck, Mercedes-Benz, Sandoz

TRO

Isleworth, Middlesex Today, brands have become what people say they are. And what they say is based on their experiences with the brand. TRO is a leading experiential marketing agency, passionate about creating those memorable moments that help brands reach their audience and inspire real change. Notable clients: BMW, Pink Lady, PGA V-Power Nitro+

TTA

Wokingham, Berkshire From conferences and congresses to corporate hospitality and celebrations, TTA ensures weeks and months of planning come together on-site. Their reputation is built on delivering truly exceptional event experiences that achieve business objectives and exceed expectations. Notable clients: Shine Connect, MBE, Royal Free London NHS Hospital, Lisa Curtis , Feel Better.

Ubiqus USA

Paris La Défense Ubiqus is a global leader in language, transcription, and event services with industry-leading divisions in the fields of translation, language interpretation, transcription of audio and video, audience polling, audio recording, and event badges. Notable clients: Yahoo, AOL, Google, PRN, AUDI

United Events Ireland

Dublin, Ireland United Events Ireland is an experienced marketing, events, & event training team that assists companies across multiple verticals. With 2 decades of organizing, coordinating, and managing all aspects of live experiential events, United Events Ireland strives to delight each and every one of their clients.

VCCP

London VCCP is an international integrated communications agency, founded in 2002 on the principles of simplicity, collaboration, un-preciousness and integration around ideas rather than channels. Notable clients: BGL Group, O2, Müller, Nationwide, easyJet

Wachsman

Dublin, Ireland The Wachsman Events Department provides professional services to enhance your brand awareness through events production, participation and sponsorship. With offices in New York and Dublin, Wachsman executes events that highlight your global business.

WCRS

London WCRS is a creative agency. They create work people care about across all channels. Whether it’s ads, music, programming, games, apps or gadgets, they strive to make things that people want to engage and interact with. Notable clients: Sky, B&Q, Now TV, Santander, Ministry of Defence

We are Vista

Leeds, West Yorkshire We are Vista take their clients from strategic engagement to content development to creative execution – with consultancy, copywriting, design, digital, events, exhibition build and film production all in-house. Notable clients: ASDA, LLYODS, BMW, BT, HP

Wonderland Agency

London Wonderland is a creative-led experiential event production agency that helps brands connect, engage and evolve. For over 15 years they have been launching, positioning and elevating brands across the globe. They work across a range of vertical - luxury, travel, retail, wine & spirits, technology, fashion, consumer goods and philanthropy. Notable clients: H&M, Corbis, BBC, Dewar's, M&S

Wordley

Penarth Wordley has deliberately aimed for the perfect marriage of creative and production agency - with a full fat post production resource bringing up the rear. It’s a well refined, fast, project delivery process where you get direct access to the creatives and filmmakers. Notable clients: Moonpig.com, Ancestry.com, Hungry House, Wayfair, Housesimple

Worldspan

London Worldspan is an inventive Event & Creative agency. They design and deliver engaging experiences, communication campaigns and events that build stronger relationships with your employees, customers and partners. Notable clients: Nikon, ALLEG, BRS, FTDI, NEM

WPN Chameleon

London WPN Chameleon develop smart, proven, persuasive and engaging solutions to deliver real numbers that match clients’ goals. We make digital, responsive TV, social, web design/build, direct mail, press, and inserts work across the commercial and non-profit sectors. Notable clients: KashFlow, Aqua, Oxfam, Optegra, Riviera

WRG Creative Communication

Manchester WRG is the creative engagement agency that engages audiences through the creation and delivery of live experiences, strategic communications, video and interactive content. As part of The Creative Engagement Group, WRG seeks to create unforgettable content and experiences. The company has over 25 years’ experience working across categories including: Healthcare, Energy, Technology, Luxury, Retail, FMCG and Financial & Professional Services. Notable clients: HP, Google, Adidas, Deloitte, Nissan

XSEM

London XSEM is a leading full service Agency specialising in the conception, implementation & management of events. Focused on adding value to your brand, XSEM creates and delivers truly enjoyable and beneficial experiences. Notable clients: DAS, EVCOM, PPG, SPEEDY PRO, SAMSUNG MONACO G

Y&R London

London Y&R London is part of one of the world’s most iconic global creative agencies. We Resist The Usual to embed brands in culture for the unfair commercial advantage of their clients. Notable clients: Marks & Spencer, Thomson, Danone, Colgate Palmolive, WhitbreadX

Zibrant

Derby

Zibrant is an award-winning leading provider of international venue finding, event production, congress, event and incentive management and hotel booking services. Notable clients: Phex, BCD, ShapeFay,VicWarehouse, Sprint

There you have it—the top event agencies all across the UK. This extensive list includes event planning, event production, experiential, and event marketing agencies with a wide array of expertise. We hope that through this list you're able to find the perfect agency for your event!

Are we missing an agency? Click on the button below to submit a request to be part of this directory. This a living, breathing list of the top UK agencies list so we appreciate any additions you may have!

from Cameron Jones Updates https://blog.bizzabo.com/top-uk-event-agencies

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gryphon1911 · 6 years ago

Link

Background

By now, if you are into camera gear at all, you know that there is a soon to be released new Nikon mirrorless FX camera. The Z7 (45+ mp) will be released end of September 2018 and the Z6 (24mp) will be released November 2018. We've already pre-ordered one of the Z6 camera kits with the new z-mount 24-70mm f/4 lenses and the FTZ adapter. It is this FTZ adapter that is of particular interest as it will allows for hundreds of f-mount lenses to work 100% on the new camera. Metering, AF and all! Our current batch of Nikon DSLRs are all models that have the screw drive built into the camera body. This allows any of the pre AF-S auto focus lenses to auto focus on these cameras. The majority of our lenses fit into this pre AF-S category. Scooping up some of those older lenses, we made a trip to our local camera store and upgraded to ones that are newer and will work with both our DSLRs and the new Z mount cameras. We'll get into those other lenses in later posts. The newest 70-300mm f/4.5-5.6 ED VR AF-P lens is one that we did a lot of research on. The current Nikon lens roadmap does not have a native long telezoom until 2019. So wanting a companion lens to go with the native 24-70/4, we decided on the AF-P 70-300 FX lens. Let's get into the lens itself.

Nikon D500 1/160, F/4.5, ISO 100 @ 70mm

Handling/Size/Weight

This lens was built for 135 or FX size Nikon cameras. It will work just fine on the DX f-mount cameras. However, if all you shoot is Nikon DX and you have no plans on upgrading to FX sensor sizes, then I'd recommend giving the DX version of this lens a look. Similar IQ but less expensive. I've owned and used other f-mount 70-300mm lenses. We've done previous review on the Tamron 70-300mm f/4-5.6VC and tested out the Nikon 70-300mm f/4.5-5.6VR AF-S. It is a very similar size to those 2. The zoom ring is large and easy to manipulate. There is a longish zoom throw, so you may need to adjust your grip if you are zooming from 70mm all the way to 300mm and back again. The lens is a mix of plastic and metal. It does not feel cheap and I found no wiggle in any of the operational points like the zoom ring or the focus ring. Given it's size, the lens is not really that heavy. I did notice lens creep when carrying the lens on the D500 on a black rapid strap. The controls on the lens are right where you'd expect a modern Nikon to have them. M/A and A switch on top and a VR switch below it with OFF/Normal/Sport modes. They take a little pressure to move position, so I do not anticipate any issues with accidentally switching the positions by accident. The lens also comes with a large petal shaped lens hood. It snaps on and off the bayonet and stays on well. It also reverses for storage in your camera bag or cabinet.

Weather Sealed

One thing you do not often see in the consumer grade lenses is weather sealing. This iteration of the 70-300 is dust and drip resistant. This is great for times when you might be in a dirty environment or a light rain.

Nikon D750 1/200, f/6.3, ISO 1250 @ 180mm

Image Quality

Reading some of the online forums, IQ is what impressed most people. They kept going on about how well the 70-300 AF-P lenses resolve, sharpness at all apertures and the rendering. I can confirm all the positive accolades. I was not expecting a consumer grade lens to be this good. Nikon really did well on this lens. Sharpness is top notch, with good micro contrast and the colors are nice and punchy. As I usually do, here is where I will allow the images to do the talking. The Bokeh quality of the lens is a lot better than one would expect. Usually you would not expect a consumer grade variable aperture telephoto lens to have as smooth a rendering as this lens does. I think it comes from the rounded aperture blades. From the sample image below, even at f/5.6 on the FX sensor, you'll be able to blur backgrounds rather well. Even on DX, you'll be able to get some nice, blurred backgrounds. Just check out some of the D500 images below for examples.

Nikon D750 1/320, F/5.6, ISO 3600 @ 300mm

Nikon D500 1/320, f/5.3, ISO 250 @ 190mm

Focusing

I was told that the AF on this lens was very fast...and again, no disappointments in this regard. The micro stepping motors move the glass elements quickly and efficiently. I have a high standard for what I require in my work lenses, and even though this will most likely not be a "work" lens for me, it is quick enough in AF to be able to qualify. Point to point or AF-S focusing is damn near instantaneous. I've yet to have the D500 or D750 hunt for focus with it. It just slams right to the point you focus on. AF-C has a lot to do with the camera and the AF systems on the D500 and D750 are top notch. AF-C on this lens is right up there and definitely usable for sports if you needed to use it for that. Full time manual focus override is available for this lens as well. No need to switch any switches on the lens or camera if you need to use manual focus. Just grab the MF ring and adjust away!

Nikon D500 1/640, f/5.6, ISO 100 @ 110mm

Nikon D500 1/500, f/5.6, ISO 100 @ 70mm

Nikon claims 4.5 stops of VR support and I found this to be very close to true. The VR engages and unlike some other implementations of VR, you don't really hear it. Also, when it engages, you don't really notice it either. It is quite seamless. I love having IBIS in my Micro Four Thirds cameras, so having a good stabilization implementation in these Nikon lenses is a plus.

Nikon D500 1/200, f/5, ISO 140 @ 120mm

Nikon D500 1/500, f/5.6, ISO 280 @ 300mm

Bottom Line

This is a great lens in the Nikon lineup. A worthy upgrade to the 70-300 G VR lens it replaces. Given it's performance, so long as the new Z6 AF system is up to task, the 70-300 AF-P will be a great adapted lens option to use on it. The double bonus is that I also have a lens that will work 100% on the D500 and D750 cameras, and even works 99% on the Df. The Df falters a little. It is 100% functional in an exposure capacity. Where it doesn't work 100% is in AF. The AF-P lenses on the Df do not remember the last position that 70-300 was at, so it resets the AF position if the meter goes to sleep or you turn the camera off. I wondered if this would be an issue for me, but the AF on this lens is just so fast and sure as to make that a non-issue. If you have a camera that is compatible with the AF-P lenses and are looking for a great consumer grade longer telephoto, I highly recommend the 70-300mm f/4.5-5.6 ED AF-P VR lens. If you do not have a compatible camera, then you will want to definitely look at the older Nikon 70-300mm f/4.5-5.6G VR or even the Tamron 70-300/4-5.6 VC. The definite nod would go slightly to the Nikon if you plan on an upgrade path to the new Nikon mirrorless. I say this because we do not know if all/any of the third party lenses will be compatible or function with the FTZ adapter. If not upgrading, I can recommend the Tamron with no question. Quick AF and great IQ. Check out the review of the Tamron I have linked at the beginning of this review for my in depth thoughts and sample images. Some additional images for your viewing pleasure!

Nikon D500 1/250, f/4.8, ISO 100 @ 90mm

Nikon D500 1/320, f/5.3, ISO 250 @ 185mm

Nikon D500 1/500, f/5.6, ISO 160 @ 300mm

Nikon D500 1/500, f/5.6, ISO 100 @ 240mm

Nikon D500 1/400, f/5.6, ISO 320 @ 220mm

Nikon D500 1/200, f/5.6, ISO 140 @ 116mm

Nikon D500 1/1000, f/5.6, ISO 100 @ 300mm

Nikon D500 1/400, f/5.6, ISO 900 @ 220mm

#IFTTT #Blogger

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