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Archive for February, 2018

Sigma announces full-frame 14-24mm F2.8 DG HSM Art lens

09 Feb

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Sigma has announced a new 14-24mm F2.8 HSM Art lens for full-frame Canon, Nikon and Sigma DSLRs. This ultra-wide zoom has three FLD and three SLD glass elements, plus an 80mm ‘high precision molded’ aspherical element. The lens is sealed against dust and moisture and has a nine-blade aperture, minimum focus distance of 26cm (10″) and a weight of around 1.2 kg (2.5 lb).

While the 14-24 comes with a petal-shaped hood, Sigma will offer a ‘front mount conversion service’ that will replace it with a circular hood, which is preferable when capturing content intended for VR use.

Living up to its Art designation, the 14-24mm has been designed with 50MP sensors in mind. It claims to minimize distortion to 1% or lower when focused to infinity, and the Canon mount version of the lens works with Canon’s in-camera lens aberration correction. Each 14-24mm F2.8 comes from Sigma’s Aizu, Japan factory.

Pricing and availability information will be released at a later date.

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Press Release

Sigma Announces Brand New 14-24mm F2.8 Art Lens

February 9, 2018 – Sigma Corporation today announced the brand new 14-24mm F2.8 DG HSM Art wide aperture zoom lens. In addition to the new Global Vision full-frame lens model, Sigma also announced a new front conversion service for the 14-24mm F2.8.

Outstanding Art Lens Performance
Designed for 50-megapixel plus cameras, the 14-24mm F2.8 DG HSM Art achieves the legendary Art lens sharpness with three FLD glass elements, three SLD glass elements, and three aspherical lens elements, including one 80mm high precision molded glass aspherical element. With near zero distortion (less than 1%) and minimal transverse chromatic aberration, flare and ghosting, the new Sigma 14-24mm offers constant F2.8 brightness throughout the zoom range and delivers optimal image quality at every focal length and shooting distance. The high-speed, high-accuracy autofocus allows photographers to capture incredible, in-the-moment images.

Rugged Design
In addition to outstanding optical performance, the 14-24mm F2.8 DG HSM Art features the Sports line level dust- and splash-proof design with special sealing at the mount connection, manual focus ring, zoom ring and cover connection, allowing for the lens to be used during varying weather conditions.

Versatile Camera System Mount Support
The new Sigma 14-24mm F2.8 DG HSM Art lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mount features brand new electromagnetic diaphragm, whereas the Canon mount is compatible with the Canon Lens Aberration Correction function.

Pricing and availability for the Sigma 14-24mm F2.8 Art lens will be announced later.

Front Mount Conversion Service for Sigma 14-24mm F2.8 DG HSM Art
Addressing the rising popularity of multi-camera productions, especially using ultra wide-angle lenses in shooting virtual reality (VR) content, Sigma has introduced its Front Conversion Service. Converting the petal-type hood of the 14-24mm F2.8 DG HSM Art to an exclusive round component allows for the lens to be used in various VR scenarios without the risk of interfering with other lenses in the VR rig or undesired shadows in the content.

The availability of this fee-based service for Sigma 14-24mm F2.8 Art will be announced at a later date.

Sigma 14-24mm F2.8 DG HSM Art specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 14–24 mm
Image stabilization No
Lens mount Canon EF, Nikon F (FX), Sigma SA Bayonet
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 17
Groups 11
Special elements / coatings 1 aspherical + 3 SLD + 3 FLD elements
Focus
Minimum focus 0.24 m (9.45)
Maximum magnification 0.18×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter No
Physical
Weight 1150 g (2.54 lb)
Diameter 96 mm (3.78)
Length 135 mm (5.31)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Hood supplied Yes
Tripod collar No
Optional accessories Petal hood can be replaced with rounded hood via "front mount conversion service"

Articles: Digital Photography Review (dpreview.com)

 
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RGG EDU is giving away a $300, 8+ hour beer photography course for free

09 Feb

If you’re looking to get into professional beverage photography—and specifically tap into the market for professional beer photography—this course from RGG EDU is definitely worth checking out. Produced by RGG and photographer Rob Grimm, the 8+ hour course covers everything you need to know. And the best part? This course, which usually retails for $ 300, is being given away 100% free.

As with all free offers like this, you’ll have to put in your personal info at checkout, but you can uncheck the “keep me up to date on news and exclusive offers” checkbox and avoid the marketing emails if you’re not keen on those.

The process takes just a few clicks—we went through it ourselves to check that it actually works—and once you’re done, you’ll get an email with a bespoke download link that gives you access to all 25 chapters of photography and retouching tutorial content, 27 RAW files, four full photo shoots, and access to a private Facebook group where you can chat with fellow members of the RGG community about the stuff you’re learning.

Here’s RGG’s description of the course:

In this tutorial, you will see Rob’s entire process for creating beverage images by breaking the composition down into its parts and obsessing over the details. You will learn the foundations of beverage photography from capturing a bottle on white, photographing cocktails including drink styling, proper use of ice, realistic condensation, creating appetite and appeal, and the use of duratrans to make an image that appears to be shot on-location with all the control of a studio.

Rob will share with you his method for generating portfolio ideas that will make you rethink your entire approach to creating images. Finally, world-renowned retoucher Earth Oliver, will walk you through the best methods to bring polish to your images that stand out from the crowd.

To learn more about the course or pick up your free copy, click here.

Articles: Digital Photography Review (dpreview.com)

 
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DJI will set up temporary no-fly zones at the 2018 Olympics

09 Feb
Photo by Matthew Brodeur

File this one under “well… obviously.” DJI is creating no-fly zones near Olympics venues in South Korea that will prevent its drones from operating in the regions. The no-fly zones will be implemented at the software level as a precaution to prevent any foolish or negligent DJI users from putting safety or security at risk.

These no-fly zones will be in place for the duration of the Games in the following cities:

  • Pyeongchang
  • Gangneung
  • Bongpyeong
  • Jeongseon

Drone security is a big topic for this year’s Games. Earlier this week, South Korean officials confirmed that they’ll have their own anti-drone UAVs in operation. These UAVs—the ones operated by security officials —will launch nets at any uninvited drone to take them out of the sky.

For its part, though, DJI has confirmed that it will be releasing a software update that creates temporary no-fly zones. This isn’t the first time the Chinese company has created temporary airspace restrictions. In a statement to Tech Crunch, DJI explained:

Safety is DJI’s top priority, and we’ve always taken proactive steps to educate our customers to operate within the law and where appropriate, implement temporary no-fly zones during major events. We believe this feature will reduce the potential for drone operations that could inadvertently create safety or security concerns.

Articles: Digital Photography Review (dpreview.com)

 
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Leaked: Sigma preparing to release 14-24mm F2.8 DG HSM Art lens

09 Feb

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Earlier today, Sigma sprang a pretty major leak ahead of the CP+ show in Japan. According to leaked images from Nokishita, Sigma is planning to add a 14-24mm F2.8 DG HSM Art lens to its ultra-wide angle lineup very soon. In fact, it looks like Nokishita got their hands on all of Sigma’s standard product shots.

You can scroll through them above, and see some rumored specifications below:

  • Mount: Canon, Nikon, Sigma
  • Lens construction: 17 elements in 11 groups
  • Number of diaphragm blades: 9 (circular aperture)
  • Maximum photographing magnification: 1: 5.4
  • Size (Sigma mount): ? 96.4mm x 135.1mm
  • Weight (Sigma mount): 1,150g

Of course, this isn’t the Sigma 70-200mm that’s been rumored (and hoped for) since before the Photo Plus Expo, but it does make for an impressive lineup of ultra-wides in the much-beloved Sigma Art series.

If previous experience is anything to judge by, Nokishita’s product photo leaks usually come just days (sometimes less than 24 hours) before an official announcement, so we’re expecting this lens to make landfall very soon.

Articles: Digital Photography Review (dpreview.com)

 
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Worth the money? Fully loaded iMac Pro vs fully loaded iMac

08 Feb

A fully loaded iMac Pro will cost you an eye-watering $ 13,200… but if you’re set on an Apple all-in-one, is it really almost $ 8,000 better than a fully-loaded 5K iMac? Parker Walbeck of Full Time Filmmaker ran some tests to find out, putting both all-in-ones through their paces using RED 8K footage, Canon 1D X Mark II 4K footage, and DJI Phantom 4 Pro 4K footage.

He also tested the machines using both Adobe Premiere Pro and Final Cut Pro X, to eliminate the CPU-crushing effects of Adobe’s software.

As you might expect, the iMac Pro outperformed the iMac in nearly every test, playing back full resolution footage flawlessly while the iMac dropped frames, and rendering/exporting at about 2x the speed. However, it didn’t win in every regard. The iMac actually outperformed the iMac Pro by 25% when it came to applying Warp Stabilizer, because this feature is only using an individual core to do the work.

Playing back 8K RED footage on the iMac Pro was much smoother than the iMac, which had to be dropped to 1/8th resolution to match performance.

All of this leads Parker to his very reasonable conclusion:

“I definitely think there is a point of diminishing returns, where you’re paying a premium for slight, incremental improvements,” says Walbeck. “But that’s how it is with most new technology, it’s overpriced and you’re going to pay a premium for the latest and greatest.”

As for the value, he sums it up pretty well in the video, and it’s probably exactly what you expected coming into this comparison. Is it worth the money?

For most people? No. For a select few, yeah, it may be a difference maker. Do I personally need a computer this powerful? No. I’m sure I’d be just fine with my iMac or a base model iMac Pro

[…]

I’ve edited RED 8K footage on my MacBook Pro before, it’s definitely doable, it’s just a lot slower than if I were to use an iMac Pro. So my advice would be to use whatever you’ve got, whatever you can afford, and just start creating content.

And that, ladies and gentlemen, might be the most practical advice to come out of one of these iMac Pro comparison videos yet. Check out the full breakdown in the video above, where Walbeck offers some great advice for video shooters who are salivating over Apple’s newest machine… and yes, he does touch on why he doesn’t think that, at least for him, it’s worth it to spend less money and build an equally powerful PC.

Articles: Digital Photography Review (dpreview.com)

 
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How to do Single Image HDR Effects with Aurora HDR 2018

08 Feb

When creating an HDR or High Dynamic Range photo, you typically need three or more images taken at different exposures (bracketed) to create one stunning image. But given the high dynamic range of today’s digital cameras, do you still need to shoot bracketed images to achieve the HDR look? In this article, I’ll show you how you can achieve HDR effects from a single image using Aurora HDR 2018.

Results will also be compared with an image made the “real” HDR way. Which is best? You be the judge.

What is HDR?

First off, let’s break down what HDR is exactly. As mentioned earlier, HDR combines a series of images, each taken with a different exposure. The result is a dramatic photo with brightened shadows and darkened highlights. Thus, shadows and highlights are the two main features that will play the biggest role in creating an HDR photo from a single image.

Using this insight, you could take a single shot and apply HDR effects by playing with just a few features that affect the overall dynamic range of your image. To start, here’s a single image of a landscape scene, shot in RAW.

Note: the images used in this article are courtesy of dPS editor Darlene Hildebrandt. 

How to do Single Image HDR Effects with Aurora HDR 2018

1. Shoot in RAW

The very first thing you want to do with your single-image HDR image is to make sure it was taken in RAW format, not JPG. RAW files are larger in size than JPGs because they store much more image information.

This means that you can push lots of post-processing effects and even salvage parts of an image that would otherwise be unrecoverable. You could feasibly apply HDR effects to a JPG image, but the results won’t be as dramatic as they will be with a RAW file.

2. Adjust the Highlights and Shadows sliders

Since highlights and shadows tend to affect the overall brightness of an image, you’ll want to play with these sliders first. Pulling down the highlights can restore bright areas that appear washed out in an image while pulling up the shadows brighten up dark spots.

For example, the sample image above was opened in Aurora HDR 2018 and the highlights and shadows were pulled to their extremes, just for demonstration purposes. Check out the dramatic change that happens just by altering the highlights and shadows.

The sky now looks overly dramatic, and the foreground is really bright and practically free of shadows. Since HDR is largely done to taste, some might like this style as-is, while others might deem it too extreme. If you want a slightly less dramatic and more realistic photo, move the highlights and shadows sliders around to taste.

How to do Single Image HDR Effects with Aurora HDR 2018

3. Adjust the Blacks and Whites sliders

To sharpen up your image and make it less flat, play around with the image blacks and whites. In general, adjusting whites is preferable to bumping up the exposure since the latter will affect highlights more than shadows and mid-tones.

If needed, you can even brighten your shadows more by using the Dodge tool and darken highlights with the Burn tool (built-into Aurora HDR). While dialing in the blacks of the image, be sure not to clip (lose detail) your shadows too much by going too far with the Black slider.

HINT: you want them to clip a little, otherwise there will be no black in the image and it will be flat.

4. Finish off with HDR Enhance and Smart Tone

Finally, top it off by adjusting two of Aurora HDR’s most unique and impactful features: HDR Enhance and Smart Tone.

The first feature, HDR Enhance, adds details, clarity, and color adjustment to an image without creating typical HDR problems such as a halo effect. Meanwhile, Smart Tone is a mapping algorithm that automatically brightens your image while also reducing noise.

These two features can be tweaked individually to achieve your HDR style of choice.

How to do Single Image HDR Effects with Aurora HDR 2018

The Result

At this point, it’s worth noting that although Aurora HDR 2018 has many filters that you can apply to images, I didn’t use them all for demonstration purposes. Instead, I stuck to the main editing window on the right-hand panel (HDR Basic).

After tinkering around in Aurora HDR, these are my two resulting images. The first is a single shot with balanced exposure and HDR editing effects applied. Next is a regular 3-bracket HDR image. Which image do you prefer?

Aurora HDR single Image

Here is the original unedited RAW file for comparison.

single image Darlene

Single-Image HDR Effects

How to do Single Image HDR Effects with Aurora HDR 2018

Full HDR from 3 bracketed exposures. Notice how much more tonal range is in this image than the one above.

Single Image HDR Photo – Example #2

This second example shows the single image HDR effect in an urban environment. Below is the starting RAW image before any post-processing was applied.

How to do Single Image HDR Effects with Aurora HDR 2018

Original raw image.

The above image was opened in Aurora HDR and the Highlight and Shadow sliders were pulled to their extremes. Again, you don’t (and shouldn’t) keep the highlights and shadows sliders at their extremes, but this is just a visual demonstration of how dramatic of an effect they can have. It’s also a good idea to see how far you can go, then scale it back a bit in each direction.

Notice how the image has brightened up considerably and you can now see lots of detail in the buildings, especially the “Meet the Producer” sign.

How to do Single Image HDR Effects with Aurora HDR 2018

Notice in the image above that there is a halo effect around much of the building. To fix that, simply adjust those highlight and shadow sliders to your liking. Also play around with the HDR Enhance slider, which will preserve image contrast and clarity without exacerbating the halo effect.

Next, the Whites and Smart Tone sliders were adjusted brighten the image further.

How to do Single Image HDR Effects with Aurora HDR 2018

Below is the resulting single image with light Aurora HDR effects applied. For comparison, a 4-image bracketed HDR is also included below.

Aurora HDR single Image

Original again for comparison.

Aurora HDR single Image

HDR from a single image.

HDR from 4 bracketed images. The biggest difference here is a more seamless continuation of tones. You will get less haloing and less noise from this method than using a single image.

In Conclusion

There you have it – a quick tutorial on how you can create an HDR effect from a single image in Aurora HDR.

Have you experimented with making a single image look like an HDR shot? Please share your techniques and sample images in the comments below.

The post How to do Single Image HDR Effects with Aurora HDR 2018 by Suzi Pratt appeared first on Digital Photography School.


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PyeongChang 2018: Behind the scenes with Nikon Professional Services

08 Feb
Sixty NPS staff members from 13 countries are gathered to help photographers at this year’s Winter Olympics in PyeongChang, South Korea.

The PyeongChang Winter Olympics offers a chance for athletes to shine on the world’s most prestigious stage, but it’s equally as important an event for the hundreds of professional photographers covering the proceedings. In order to capture the most critical sporting moments, they need everything – camera position, angle and timing – to come together at once. This is no place for gear trouble, and that’s where Nikon Professional Services (NPS) comes in.

NPS can be found at most major worldwide sporting events, including the Olympics, as well as international entertainment fixtures such as film and music festivals. NPS also provides camera support services at smaller domestic events like national sporting championships.

There will be 60 NPS staff members from 13 countries on hand, offering support in around 10 languages.

As preparations gear up for this year’s PyeongChang Winter Olympics in South Korea, we spoke to a senior NPS technician and veteran of 15 Olympic Games about what’s involved.

At the PyeongChang Olympics, there will be 60 NPS staff members from 13 countries on hand, offering support in around 10 languages. Planning for the event started two years ago, and as well as D5 and D850 bodies the NPS inventory will include a range of specialized prime and zoom lenses. The exact figure is confidential, but the total value of all the gear is equivalent to ‘several hundred luxury cars’.

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Located in the main press center, the NPS depot will serve all press photographers, regardless of NPS membership. Services offered will include camera check-ups, cleaning and repairs – as well as technical advice and loaner equipment.

Nikon’s professional DSLRs can keep shooting well below freezing, but the extreme temperature difference between inside and outside shooting environments can still present challenges. Among the services available to photographers will be solving a problem unique to shooting in winter – condensation buildup inside lenses.

It may look like a studio light at first glance, but it’s actually a Robotic POD ? an MRMC robotic motion control rig incorporating an AF-S NIKKOR 200-500mm f/5.6E ED VR lens and D5 combination.

The PyeongChang depot is also newly equipped to offer support for robotic remote shooting systems made by Mark Roberts Motion Control (MRMC), a British company that’s now part of the Nikon group.

Major international events like the Olympics are the front lines of technological development

Major international events like the Olympics are the front lines of technological development, and several press agencies will be using MRMC’s Robotic POD (pictured above) at the Winter Games. The latest remote head, it incorporates a D5 body and boasts a less complicated system than conventional models to allow for easier control. With accurate zooming, focusing and rotating, the Robotic POD enables remote shooting in a much wider range of scenarios.

But the depot isn’t just there to help when a photographer has gear trouble – NPS hopes it will serve as an ‘oasis’ amid the high-pressure environment of the games, providing a valuable opportunity for photographers and technicians to talk and share ideas.


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Articles: Digital Photography Review (dpreview.com)

 
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Product Photography: The Ultimate Guide

08 Feb

Product photography is one of the more technical types of photography. Whether I decide to shoot natural light or create in my studio, I need to be aware of and control everything in the area. Lighting, product position, depth of field, image stabilization, and the brand itself all come together in a product shoot. So what are the first things Continue Reading

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Reckless drone video under investigation for flying directly above passenger jet

08 Feb

A drone pilot has enraged the entire UAV community after sharing a video in which he flew his drone directly above a passenger jet flying out of Las Vegas’ McCarran International Airport. The stunt was captured in a video by the camera drone, which shows it facing the jet before turning to fly in the same direction and quickly dropping altitude to get closer to the aircraft. The drone then chases after the plane but quickly falls behind.

The video was first shared privately on the Facebook group 1% FPV by someone posting under the name “James Jayo Older.” Some concerned members took a screen capture of the video and shared it outside of the Facebook group to bring attention to the dangerous stunt.

The FAA has since confirmed that it is investigating the flight, which has been heavily condemned by drone enthusiasts and the general public alike. Federal regulations prohibit drones from being operated above 400ft, near airports, and around aircraft—this pilot seems to have blatantly violated all three rules. Operating a UAV at such a close distance to an aircraft could put the entire flight at risk.

According to the FAA’s website, recreational drone pilots are required to alert air traffic control towers (when present) and airport operators ahead of time about flights happening within a 5 mile radius of an airport. “However,” the FAA notes, “recreational operations are not permitted in Class B airspace around most major airports without specific air traffic permission and coordination.”

The FAA has an online system where anyone can report a drone violation.

Articles: Digital Photography Review (dpreview.com)

 
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DxOMark report reveals just how far smartphone cameras have come in the last 5 years

08 Feb
DxOMark chart shows that overall scores for smartphone cameras have steadily improved over the last 5 years.

If you’re looking for the most drastic and impressive improvements in the world of imaging, the (sad?) fact is, you’ll want to look at smartphone manufacturers. And this is what DxOMark highlights in a fascinating retrospective titled “Disruptive technologies in mobile imaging” that looks back on 5 years of testing smartphone cameras.

Not that the Sonys and Nikons and Canons of the world haven’t made improvements—and who knows when the next generational leap in image sensor technology will take place—but as the saying goes: necessity is the mother of invention. Given the size limitations of our ever-thinner and lighter smartphones, its phone manufacturers who have had to be most creative when it comes to improving image quality.

That, in a nutshell, is what DxOMark breaks down in its retrospective, taking a close look at everything from how smartphones have improved their ability to eliminate noise without losing texture, to exposure improvements, autofocus, video stabilization, zoom, and the recent advancements in bokeh simulation.

Exposure is one of the areas that has seen drastic improvements. These images were captured at just 1 Lux, showing how the 808 PureView falls far short of the iPhone 5s, which in turn falls significantly short of the Galaxy S7 “thanks to better tuning and noise reduction.”

The area where smartphone cameras seem to have improved most is in their ability to toe the line between decreasing noise and maintaining texture. Without simply increasing the size of the image sensor, this is a difficult balance to strike if you’re using just image processing, so newer phones take care of this in three ways:

  1. Optical image stabilization to allow for longer hand-held exposures
  2. Temporal noise reduction (TNR) that combines image data from multiple frames
  3. Multiple camera modules (currently dual, maybe soon triple)

These techniques have helped manufacturers make huge leaps forward in the past 5 years:

This side-by-side comparison shows just how much better the iPhone X is at avoiding and cleaning up noise than the iPhone 5s. But even the iPhone6, which used the same camera module as the 5s, benefitted greatly from improved software.
But the iPhone X isn’t even the best at this trick. Here it is compared to the Samsung Galaxy Note 8, Google Pixel 2, and Huawei Mate 10 Pro.

DxOMark’s conclusion after sharing all of this data is unsurprising, and one of the reasons why we’re keeping such a close eye on the newest smartphone camera tech:

We can see that camera hardware and image processing have been evolving alongside each during the past 5 years, and at a much faster pace than in the “traditional” camera sector.

DSLRs and mirrorless system cameras are still clearly ahead in some areas, but in terms of image processing, Canon, Nikon, Pentax, and the other players in the DSC market are behind what Apple, Samsung, Google, and Huawei can do. Thanks to their hardware advantages, the larger cameras don’t actually need the same level of pixel processing as smartphones to produce great images, but there is no denying that the performance gap between smartphones and DSLRs is narrowing.

That’s a good summary, but if you want to dive into all of the comparisons—between phones of the past and today, and between the best phones on the market right now—head over to DxOMark and read their full retrospective.

Articles: Digital Photography Review (dpreview.com)

 
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