I’m not so sure the difference is as big as Johnston makes out but, since I’m in the Fuji camp now, I ordered the recently reduced-in-price Fuji 56mm f/1.2. I’ve been pining for that lens since its introduction, and finally pulled the trigger. It was a bit of a hard decision, since the extremely well-regarded 85mm Nikon is pretty easy to find substantially cheaper than the Fuji, and it’s hard to argue with the quality of that lens on my D800.
I have to admit, though, that I’ve had no lust for Nikon gear lately, but do find my eye wandering to look at the Fuji lens selection. That, coupled with the lens roadmap Fuji’s put out (oh, the 16mm…) has me considering whether I shouldn’t sell off my Nikon stuff and be done with it. I’ve done that twice before and come back each time, so I don’t want to make that decision lightly. I do have significant money tied up in my Nikon gear, and it’s not seeing action these days, so it probably makes sense to move it on.
Back to the linked article, though: I have to admit that despite the love for the Fuji 56mm, that Leica is wonderful. Were it available for the Fuji mount natively, I might lean that way, even at the price differential. Image stabilization is a big win, even at a slight size increase. I can only hope that the next X-Pro 2 has IS built-in.
Beautiful and appropriate.
Jason Snell wraps up the announcement in better detail. Love the poster and its callback to the Spectre logo.
This is shaping up to be great! Christoph Waltz, who I have loved in every movie I’ve seen him in, has been confirmed for the movie, and Monica Bellucci is also in. Man, I hope the script backs up these great casting moves.
December 03, 2014
I really enjoyed the last few episodes, which is a relief. I had been ready to write the show off—and actually would have—except my wife wanted to keep watching. In any case, I’m glad we did. The story picked up the pace, in fact moving a little too quickly; I thought there was more to mine in both the cannibal storyline and the hospital one. It felt like they moved past the cannibals a little too quickly in order to get to the hospital, which then also came to a resolution quickly. I wonder: Had there been no arbitrary mid-season break, would the stories being told here have naturally spread over a couple more episodes, maybe even span to the end of the regular season? I think so. (See below for more on this.)
Regardless, the characters got back together, some quite the worse for the wear. The overarching theme since their dispersal, that the humanity of the survivors is being stretched across a terrible continuum that has many moving the line-that-can’t-be-crossed. It’s been compelling television. The cannibals at Terminus were clearly the ultimate representation of what can happen to otherwise “good” people in these extreme conditions, and we’ve seen our protagonists—particularly Rick—moving down that path to darkness.
Beth, who had been one of the better “good” people, even darkened a bit, having killed live people recently. (It’s weird to make that distinction, but when you “kill” so many “dead”, it’s hard to describe otherwise.) The only person probably more “good” than Beth has been is Tyreese, having recently recovered to that state after a dark time spent battling with inner demons himself. That she met her end in this episode will likely cause the group to skew darker upon the show’s return.
Unlike my earlier stance, I’m looking forward to seeing more from The Walking Dead.
I’m going to rant a bit, even though it retreads a bit of ground. How fucking stupid is it that we have a “mid-season finale”? Regardless of the quality of the episode in question, which is high, why is the fucking series on hiatus—only six episodes into its season—until February? And why is there a pre-hiatus finale? I’ll tell you: To build up hype and give them an opportunity to pimp some other show, this time the it’s-got-to-be-doomed-to-fail Breaking Bad spinoff Better Call Saul. It sucks, and I hope that either AMC stops the practice or that it fails to generate another show I care to watch.
“And despite what some readers might think when I call it a work of fiction, "The Wire” captures a core truth of Baltimore. It’s the same one producer Sarah Koenig nails in “Serial”: that there is a lot of crime in this city, and to live here is to develop a kind of combat-tested, rueful acceptance of its prevalence."
The Baltimore Sun on the recent debate about the effect The Wire has had on the image of the city. There’s also a tie-in to Serial, the podcast I’ve linked to recently, which is about a real life The Wire-vintage murder case. Serial is being reported on by Sarah Koenig who, like David Simon, is a former reporter for the Sun.
OK, OK, no more about The Wire for a bit, I promise!
Related to the previous post, and my last (for now) from Simon’s blog. Suffice it to say that I think you should go spend some time reading it.
“Here, though, I read carefully and understood what Mr. Rowe did and did not argue. And my comments were proportioned to make clear that there was plenty of room for his good efforts on behalf of the city, that such efforts easily obtain my support, and that those efforts did not, in my mind, necessarily conflict with the concurrent responsibility by others to use narrative and imagery to tell hard truths about our city, our nation, and our national priorities and policies. That’s the sum of what went back over the transom.
“Too much? If Mr. Rowe can dish out his caricatures about who populates The Wire and Homicide — pimps and dealers and junkies, oh my! — yet finds himself unable to endure the brutalities of the above reply, he boasts a sensitivity that I fear cannot long endure in the town of his birth. After all, the only phrase I offered in critique of Mr. Rowe’s performance, rather than in direct support of his effort on behalf of Baltimore, was to note his apparent lack of understanding for the role of storytelling that doesn’t affirm what those in power wish to have said about just how swell they’ve administered things. For that, you can’t rely on political leaders, or celebrity promotional campaigns, or any deep reservoir of empathy from many of those whose lives are arrayed on the right and profitable side of a status quo. For that, some measure of dissent is required.”
Honest perspective on the new release, wonderfully written.
I feel like linking to this every time I read about Neil Young’s Pono.
“…Fuji is a lensmaker. Sony isn’t.”
Agreed, and that’s why I went Fuji, despite Sony doing a good job on the tech front. Ironically, the computer-y feel of the A7 left me cold, and the lens selection is a big reason to go Fuji. This is a great competition; I can’t wait to see the next Fuji X-Pro model.
You’ve probably seen it by now, but if not, stop and go watch it!
November 26, 2014
The Sony A7II is out, and as I’ve said before, Sony’s really doing a great job of bringing the technology I want to see in cameras to their models. In-body image stabilization is in the A7II as it was in the A99 I was writing about then. This has long been something that Nikon has ignored, to its peril, I say.
My “next camera” from the point of view of that earlier post wasn’t a Sony—it was a Fuji, due largely to the wonderful lenses—but Sony is a contender in my mind now. I’ve given up on Nikon seeing the light (on many fronts), but I have hope for Fuji, which has shown that it listens to its customers. Fuji is due (overdue?) to replace its flagship XPro-1, and the de facto king-of-the-hill XT-1 is nearly a year old now, so I’m hoping we’ll see something great from them.