Newsletter Overview

Table of contents

• Sponsors
• Features
  • Photokina Q&A: Can the Samsung NX1 redefine pro performance with a quantum leap in technology?
  • The Art of Capturing Aurora: An interview with photographer Jeremy Gray
• Reviews
  • Nikon V3 Review
  • Olympus E-PL7 Shooter's Report Part I
  • Sony A77 II Shooter's Report Part I
  • Olympus 75-300mm II Lens Review

• Quick Hits
  • Nikon D750 First Shots
  • Canon G7 X First Shots
  • Canon SX60 HS First Shots
• Popular News
• Next Issue
• Signoff

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Sponsors

Sigma

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•     18-35mm F1.8 DC HSM
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•     120-300mm F2.8 DG OS HSM
•     USB Dock

All designed to deliver the highest optical quality and performance.
 

Samsung

Features

Photokina Q&A: Can the Samsung NX1 redefine pro performance with a quantum leap in technology? (EXCERPT)

6.7 Billion pixels per second image readout? Check. 240fps hardware-based object-recognition and tracking? Check.

Jay Kelbley Senior Marketing Manager Digital Imaging Samsung Electronics

With its amazing speed and rugged build quality, the Samsung NX1 is clearly aimed at attracting professionals to the NX-mount, and it just might do that, if it tests as well in the lab and in the field as it shows in the tradeshow booth.

During the show, Imaging Resource publisher and founder Dave Etchells met with Samsung Electronics senior marketing manager for digital imaging, Jay Kelbley, for a wide-ranging discussion of the Samsung NX1, its cutting-edge technology, and why the company feels its offering to be unique in the marketplace. 

What followed was a fairly technical discussion of just what Samsung has managed to pack inside the NX1's diminutive body, and some of its capabilities are pretty eye-popping. Read on for the details:

Dave Etchells/Imaging Resource: As you'd expect, I have a lot of questions about the Samsung NX1 and the technology in it, starting with autofocus. You make some really impressive claims for autofocus speed and capability, but on-chip phase detect isn't free of trade-offs. I wanted to talk about some of those and how Samsung's addressed them, or to what extent.

Jay Kelbley/Samsung Electronics: Sure.

DE: One obvious thing is that PDAF involves shading some of the pixels so they see light coming from just one side of the lens or the other. It's not a big problem, you can always bump up the gain in that pixel to compensate for the half of the light it's not seeing, but you guys have got a huge number of pixels and they're also cross-points.

JK: Sure.

DE: At what point or when does it become an issue with image quality, having so many focus pixels? Another way of asking that is what percentage of the pixels really are focus pixels?

JK: Well, even when you've got more than 200 phase-detect points, compared to 28 megapixels total, the percentage of AF pixels is minuscule.

DE: Ah, OK.
[Here's a little back-of-the-envelope, are-we-in-the-right-ballpark math to illustrate this: Let's assume that each focus point uses 500 pixels in each direction, or 1,000 pixels total. That'd mean 200,000 pixels across the sensor, out of a total of 28 million, or just 0.7%, and my assumption of 500 pixels in each direction is almost certainly overly generous.]

JK: As we're going up in resolution, we have some advantages relative to current sensor technology in fill. Our fill efficiency is much higher than most of the industry, thanks in large part to moving to 65nm design rules for our latest sensor.
[A nanometer (nm) is one billionth of a meter (10^-9 meters), or one millionth of a millimeter. While things like memory circuits have even smaller design rules, 65nm is unusually small for a sensor chip.]

DE: But it's backside-illuminated, so it's collecting all the light anyway.
[The point of this comment is that Jay was talking about smaller design rules (minimum feature size on the sensor chip) as contributing to a higher fill ratio, or percentage of the silicon area that's able to collect light. This was confusing, because as I had understood it, the whole point of BSI is that all the peripheral circuitry doesn't matter, so you could theoretically get a 100% fill factor. If that's the case, why would smaller design rules be a benefit here? Read on for the answer.]

JK: It's collecting all...

DE: So with the smaller design rules, you've got a bigger capacitor, essentially, to store it on? Is that what it is? Or a bigger potential well?
[Again, I was trying to understand what the consequence of smaller design rules meant. I was wondering if it meant they were able to create a potential well that could hold more electrons, which would contribute to lower noise levels.]

JK: Well, we can make much more efficient structures, smaller structures, so the net result is we can get better fill in general. We don't have to make big, thick walls on everything. As well, when we switch to copper [replacing polysilicon for the wiring on the chip], we've moved to a much more conductive material, which helps us in heat dissipation, it helps us in...

DE: Propagation of the signals across the chip? [Meaning potentially faster readout speeds]

JK: ...reducing resistance. So we're using less material, so again, even though we're BSI, we're cutting the pixel depth even more that way, which gives us more sensitivity and efficiency. So you'll find when you actually get these to test that the high ISO noise on these is much lower than it should be, if you follow the curve down in terms of pixel pitch, because of BSI, because of copper, because of the more efficient microlenses we've put on. The microlenses on these appear to cover almost 100%.

If you looked at the NX30 microlens, you'd say it looks to have 95%-ish coverage. For a square microlens it's pretty good; these things look visibly to be very close to 100% when you look at them on a microscope cutaway. So we're still making lots of incremental improvements and we're making them in technology vectors that no one else is. As far as I know, no other camera manufacturer is running a copper process for their sensors, and I don't believe any are running design rules close to these. I believe that some manufacturers, making higher-end cameras, are still running their processes in the range of 300nm design rules.

DE: By semiconductor standards, that's enormous.

JK: That's really large, and for memory structures, for computing structures, you can be down in the teens. So it's my understanding that we have the tightest design rules of any sensor manufacturing process used for cameras by a factor of two, and by general average probably close to a factor of four or five.

DE: It's interesting what you had mentioned, you know, you were talking about the "big thick walls". I just realized you were talking about the isolation diffusions between the pixels not taking up as much space with the smaller design rules, so even when you look at the backside-illuminated structure -- I'd been thinking that you've got 100% of the surface area available, but you still have to separate the photodiodes from each other, and that's where the smaller design rules come in.

JK: Right. Well, and you don't need as much material because the well depth is so much shorter as well. That being said, this isn't an ISOCELL process, so we're not putting in a reflective side layer which we don't need, again, because it's the short well depth.
[I think Jay might have used "well depth" at other points in the discussion to mean the front-to-back thickness of the diffusion defining the photodiode -- basically, the thickness of the silicon. In this case though, it's clear he's talking about the distance from the optical top of the stack of microlens, color filter array and any other structures to the photosensitive silicon surface.

The Samsung's ISOCELL sensor tech that Jay's referring to here is a combination of backside illumination and physical separation of the pixels from each other, to prevent light from leaking between adjacent pixels. This "crosstalk" can reduce resolution and cause problems with color purity. Samsung first introduced ISOCELL technology in cell phone sensors having tiny 1.4 micron pixels. For whatever reason the structures above the silicon in the NX1's sensor appear to be thinner than was the case in chips using ISOCELL, so there's less chance for crosstalk to occur. Crosstalk would be less of an issue, though, due to the larger dimensions of the NX1's pixels. At roughly 3.6 microns vs 1.4 microns for the cell phone chip, the percentage of the photodiode area subject to crosstalk would be much less.]

DE: So even with BSI, there are some structures on the back of the chip still?

JK: Some structures...

DE: Because the well depth you're talking about, the... are you talking...

JK: Distance to the photodiode from the...

DE: From the surface. But if it's on the back, then I would think all the structures are on the front.

JK: You still have a CFA (color filter array), you still have some insulating layers, so there's still some depth there.

DE: There's still some depth there.

JK: I'll show you some illustrations out on the floor that'll show you that the well depth's about a third of what it is for front-side illuminated. Or not the well depth, but I'd say the light depth, so if you include the microlens in there, if you include the bonding layers, all that stuff, you're looking at probably less than a third of the distance that you'd have on a similar structure, frontside-illuminated.

...

There's a LOT more to this story! - Head over to Imaging Resource to read the rest of the very in-depth interview with much more about Samsung's new flagship NX1, including loads of detail on its incredible image processor and amazing Auto-Shot mode. (That's a lot of superlatives, but for AutoShot, we're talking a out a sensor and processor that can read out and digest 240 full-resolution 28-megapixel frames every second!)

The Art of Capturing Aurora: An interview with photographer Jeremy Gray (EXCERPT)

by Dave Pardue

When the sun unleashes a certain type of solar flare out into the surrounding cosmos, headed in our general direction, the result is often a high-energy plasma cloud bombarding our magnetosphere. OK - so that's a mouthful, but the result to us down here on Earth is generally twofold, as havoc can be wreaked on our power grids and electrical systems, while incredibly beautiful skies often result from the aurora that are created from the powerful collisions.

These breathtaking phenomena generally occur at or near the poles due to their high magnetic charge, and can generally be seen as far as ~20° from the poles, and sometimes even further depending on the severity of the geomagnetic storm. Having grown up in the southeastern part of the United States and having spent very little time north of New York City, I have never had the privilege of witnessing a full-blown auroral display myself, which is why I'm grateful to the photographers who pour their time, energy and money into capturing them in their full glory for the rest of us to see.

Jeremy Gray is one of these adventurous souls, hailing from Orrington, Maine, which is fortunately well within the auroral viewing band. His nature and landscape photography first came to my attention with this Astronomy Picture of the Day from Nasa just a few weeks ago, and he graciously offered to share some of his techniques and shooting tips with our readers, including details about his chosen gear for the job.

Imaging Resource interview with Jeremy P. Gray

IR: Was there anything special that led you to wanting to shoot aurora?

JPG: When I became interested in photography during high school, I saw a lot of wonderful aurora images on the internet. It was seeing those images that motivated me to capture the aurora myself. Additionally, during my final term at McGill University this past spring, I took an astrophysics course and did night photography for class projects. The colors of the aurora are a big draw, an auroral display is constantly changing, and every individual event is unique.

IR: What's your primary shooting rig for aurora photography (camera, lens, extra gear)?

JPG: My primary shooting setup for aurora photography (and night photography in general) is a Nikon D800E camera body with a Nikon 14-24mm f/2.8 lens. I also occasionally use a Nikon 24-70mm f/2.8. In both cases, I keep masking tape handy so that I can hold the focus ring at infinity when I am shooting the sky. It’s really easy to bump things out in the field only to realize after you've been shooting that the focus was a little bit off. If I have any filters on the lenses, I make sure to remove them before shooting at night, especially when shooting auroras. A good-quality tripod, head and a cable release are important to ensure stability so that everything remains sharp over long exposures. Additionally, a headlamp or flashlight is important for safely moving around in the night but also for setting up my composition. I always bring fully-charged extra batteries and empty memory cards. It would be unfortunate to have great shooting conditions and be forced to stop because batteries are dead or memory cards are full.

IR: What general exposure settings do you tend to start with, and does this vary from shot to shot?

JPG: To counteract camera shake from the mirror mechanism or hitting the shutter release, I use my camera in mirror lock-up mode with a cable release to minimize any chance of camera shake disrupting an exposure.

With my camera, I find that files are acceptable up to around ISO 2000-2500, but I prefer shooting at ISO 1600 and below. Everyone has different acceptable ISO settings with their own equipment and preferences, so it is important for photographers to test their camera out at night and determine acceptable ISOs. The most important thing for me is that I have a plan before I go out in the field, and this is doubly important when dealing with auroras, as they can appear and disappear in a very short period of time. Knowing my usable ISO range, I tend to start at ISO 2000 and an exposure time of 15 seconds and see how that works. I always shoot wide open, which is f/2.8 for me.

When shooting auroras, I prefer to shoot exposures less than 20 seconds and will shorten the exposure to 10 or 5 seconds if the conditions allow. The longer your exposure, the more blended the movement of the auroras will be. On the other hand, the shorter your exposure, the more detail you will capture in the aurora, particularly the brilliant pillars of bright light apparent in strong aurora displays. If you have to increase your ISO to shorten an exposure to 15 seconds, it’s a worthwhile tradeoff. If you’re unsure if your exposure is the correct one, set your camera to display ‘Highlights’ when reviewing your images. This allows you to check for any blown out areas in the sky. If you do have overexposed areas, decrease your ISO or shorten your exposure time. A histogram works well for this too.

Additionally, every auroral display is different (which is a big part of the appeal!). Faint displays may require 20-30 second exposures while other more powerful displays may require only 5-10 second exposures. Auroral displays vary in color. White balance is something I don’t want to have to consider out in the field. To accommodate this, I only shoot RAW files and either leave my white balance around 4850 K or just set the camera to Auto white balance. The RAW files allow opportunity for white balance adjustments during image processing.

...

View more of Jeremy's spectacular photos and read the rest of the interview over on the site!

Reviews

Nikon V3 Review

Is this super-speedy flagship the best argument yet for Nikon’s 1-system?

Article by Mike Tomkins | Review by Jason Schneider 

With the Nikon V3, the company hopes to persuade these more experienced photographers to take another look. This new flagship for the 1-series line couples the best of its forebears with some of the best raw image quality we've seen yet at its sensor size -- and it's worth bearing in mind that this is the exact same size used in Sony's much-lauded RX100-series cameras.



And its that sensor size which is the key to the unusually compact proportions of 1-series cameras and lenses alike. Although the V3 still faces a strong challenge from the image quality of larger-sensored cameras, it boasts stupendously fast autofocus and absolutely jaw-dropping burst performance.



Is this the recipe that can persuade enthusiasts to look past the CX-format sensor's limits, and see its unique advantages in perspective? We've finished our testing, added yet more gallery images shot by IR founder and publisher Dave Etchells on a recent trip to Japan, and rendered our verdict. Read our Nikon V3 review and its newly-posted conclusion, and find out what we thought!

Olympus E-PL7 Shooter’s Report Part I

Exploring the benefits of a few significant upgrades

by Dave Pardue

It seems from some of our reader comments that the Olympus E-PL7 is not quite understood for what it is. Perhaps it's the change in style from its predecessor, bringing it closer in appearance to the flagship E-P5's look than the E-PL5, a line that has remained fairly consistent over the past few generations in terms of external design. Or maybe it's the marketing hype of the "selfie" screen, which we promoted in our initial coverage but didn't quite resonate with the enthusiast crowd. Whatever the case may be, after spending my first few days with this camera I can very much report to you that it's a solid step up, at least for my tastes and shooting preferences.

Head over to my Olympus E-PL7 Shooter's Report Part I for all the details, including an exploration of some nice upgrades as well as a few things I found that weren't quite to my liking. And for you lens junkies out there (you know who you are) I've paired the E-PL7 with no less than 6 lenses thus far, including the kit lens and a bevy of zooms and primes, to give you the gamut of possibilities available in the MFT arena.

A solid upgrade in my opinion, despite some reviews to the contrary, and quite a nice little camera thus far.




Stay tuned for more to come on the Olympus E-PL7!

[quick links: Olympus E-PL7 • Shooter's Report Part I • Gallery • Samples • E-PL7 vs E-PL5]

Sony A77 II Shooter’s Report Part I

A pro-like DSLR with image quality, features to rival the competition

Article by William Brawley | Review by John Shafer

Straight from the Rocky Mountains, John Shafer's first installment of his Sony A77 II Shooter's Report is now published. As a sports and action photographer first and foremost, John took a look at the Sony A77 II's featureset and specs -- 79-point AF system, 12fps continuous burst (with live autofocus), bright EVF, dust- and weather-sealing build, plus Wi-Fi and 1080/60p video -- and contemplated it as a worthy upgrade over his Canon 7D.

In his own words, "I've been using Canon EOS SLR cameras since the mid-nineties. However, I'm also a big Sony fan. I love their out-of-the-box approach to camera design -- especially the SLT camera family, to which the new A77 Mark II DSLR belongs. I like it so much I was considering buying an A77 II, sight-unseen, to replace my Canon EOS 7D. The second-gen A77 features and specs make it look like an excellent replacement for my aging EOS 7D."



Now that he's had a chance to take Sony's latest flagship APS-C SLT camera out for a spin, John has a good sense for the ergonomics, design and build quality as well as its image quality performance, especially at higher ISOs compared to his Canon 7D and 70D. However, for him, the real test is the AF performance and sheer speed at continuous burst shooting, which he'll tackle, alongside video performance, in the second Shooter's Report installment that's currently underway.

In the meantime, head over to read John's in-depth Sony A77 II Shooter's Report Part I to see how this camera feels in the hand and how it holds up in higher ISO shooting, including how much you can push the Sony's files in post-production.

[Quick Links: Overview • Lab Shots • Image Quality • Shooter's Report Part I • Gallery]

QUICK HITS

Olympus 75-300mm f/4.8-6.7 II Lens Review: A light supertele zoom gets a facelift and a nice price drop

Although Olympus is poised to release a 300mm f/4 Zuiko Pro lens in the near future, supertelephoto lenses have arguably been a bit of a weak spot in the Micro Four Thirds lens lineup. While it's almost a sure bet that the 300mm f/4 Pro will be priced at around the $1500 mark or above, for more budget-conscious photographers who want more flexibility from a zoom, less weight and don't mind the non-weather-sealed body and slower aperture range, the updated Olympus 75-300mm f/4.8-6.7 II lens hit the spot nicely for most of your telephoto shooting needs.

Undergoing a facelift for a sleeker, cleaner design and featuring "Zuiko Extra-low Reflection Optical" lens coatings, the new "Version II" of the Olympus 75-300 lens is not significantly different from the original version. That is, except for the price. Dropping from around $800 to a more wallet-friendly $550 price tag, the new 75-300 lens is a great choice for shooters on a budget, but who still want to capture great photos of wildlife or any other far-away subjects.

On the performance side, the 75-300 produces very sharp images, especially at the shorter focal lenghts. Images soften up a bit at the longer end, particularly at 300mm. Like sharpness, CA is very well controlled at 75mm, but starts to appear more as you zoom to longer focal lengths. Other optical characteristics are quite good. 

Head on over to SLRgear to read the full Olympus 75-300mm f/4.8-6.7 II review, complete with our in-depth report, final conclusion as well as our full range of test results and sample images, including before and after images of Sony's distortion correction.

The Olympus 75-300mm f/4.8-6.7 II is currently available now for $549, and can be purchased at one of our trusted affiliates: Amazon, Adorama and B&H. Purchasing this lens, or any other item, at one of these retailers helps support this site and keeps the reviews coming!

Also, check out some sample photos shot by our senior lens technician Rob Murray using the Panasonic GX1. You can view more sample photos, plus download the full-resolution files, over at our Flickr page.

Nikon D750 First Shots posted! See how the new mid-priced full frame Nikon stacks up to the competition

As we mentioned in our Nikon D750 overview, the spiritual successor to the popular Nikon D700 from 2008 is basically all-new from the ground up. Sporting a similar 24.3mp sensor to the one housed in the D610 and the same processor found in the higher-end D810, this model expands the available ISO range beyond the D610's limits.

How does all this translate to the actual image quality? Let our laboratory First Shots be your starting point. From this samples page you can access both RAW and JPEG files of our Still Life test target across the ISO spectrum, as well as view the images at full resolution and gain access to the EXIF data.

In addition, these images are now available in our world-renowned Comparometer, which allows you to view side-by-side comparisons with any other camera we've ever tested. Curious as to how the higher-ISO noise levels compare to the Nikon D610? Or how about the Pentax K3, Canon 5D Mark III or the Sony A7?

To get you started, below is the Nikon D750 alongside the Canon 5D Mark III at ISO 3200:

Stay tuned for much more to come on the new Nikon D750.

[quick links: Nikon D750 • Lab Samples • Comparometer]

Canon G7 X First Shots: the Sony RX100-series rival hits our test lab

The Canon G7 X, the "Big C's" answer to the powerful and popular Sony RX100-series of premium, large-sensor compact cameras, was recently introduced at this year's Photokina trade show. Now, our review sample unit has arrived and is already undergoing rigorous testing in our laboratory. 

With a large, 20.2MP 1-inch type sensor coupled with and a fast f/1.8-2.8 aperture and a versatile 24-100mm-equivalent focal length range, all packed into a sleek, solid body, the G7 X is undoubtedly going to give the Sony RX100 III -- it's closest rival in the RX100-series of cameras -- a run for its money. That is, if the image quality can cut the mustard.

For all your pixel-peeping pleasure, our First Shots for the Canon PowerShot G7 X have now been published. Head over to the Canon G7 X samples page to download both RAWs and JPEG images of our standard Still Life test target. We've also provided JPEG files with default noise reduction turned to the minimum level (see filenames with "NR1"). Oddly, the G7 X will only shoot RAW + JPEG pairs with default NR enabled for the JPEG files, so that why you won't see .CR2 files under the "NR1" samples.

So, how does the G7 X stack up against the competition? Head over to our world famous Comparometer to get a head-to-head look against the Sony RX100 III, as well as other large-sensor compacts like the G1 X Mark II, or other 1-inch sensor cameras such as the Nikon V3.

Stay tuned for much more to come on the new Canon G7 X.

[quick links: Canon G7 X • Lab Samples • Gallery

Canon SX60 HS First Shots posted: Does the new 65x king of superzooms have the IQ to back that range?

Superzoom cameras are a popular lot, and more people seem to be flocking to them these days, at least here at IR. The race for longer range continues, heating up this year with the longest achievable focal length to date for an all-in-one superzoom, namely the Nikon P600 which goes to a record-setting 1,440mm equivalent (at 60x).

The Canon SX60 HS comes close at 1,365mm, but sports a first for the category by extending 65x given that it's wider at the wide end (21mm vs 24mm eq.). And it far outclasses its predecessor the popular SX50 HS on both with its 50x range from 24-1200mm eq., as well as sporting a sensor with roughly 4 more megapixels in resolution.

With all current superzooms sporting roughly the same size 1/2.3" type sensors, the logical question becomes: Does the longer range or the higher resolution negatively affect the image quality? Our initial lab samples are the starting point in determining this, at least at standard focal lengths, and present our Canon SX60 HS First Shots to help you make up your own mind. On this page you can access both JPEG and RAW files for downloading to use for your own personal (non-commercial) comparison purposes, including access to all EXIF data.

You can also use our Comparometer to pit the SX60 HS against the competition or its predecessor the SX50 HS. Does it hold its own against the Nikon P600, the Panasonic FZ70 or the Sony HX400V? How about the Olympus SP-100 or the Fuji S1? ...You be the judge!

To get you started, below is a 1:1 crop comparison between the SX60 HS and the SX50 HS at ISO 100. The apparent size difference is due to the different sensor resolutions.

This is just the beginning, as we'll be exploring the Canon SX60 HS in depth for you, so check back often for updates and shooter's reports to come.

[quick links: Canon SX60 HS • Lab Samples • Comparometer • SX60 HS vs SX50 HS]

Popular News on the Site

At http://www.imaging-resource.com/news you can keep track of the photo news on our main site. Among the most popular stories over the last couple of weeks:

• Mirrorless cameras are the best compact travel cameras according to NatGeo
  • http://www.imaging-resource.com/news/2014/09/26/mirrorless-cameras-are-the-best-compact-travel-cameras-according-to-natgeo
• Apple iPhone 6 camera beats Galaxy, Xperia, Lumia in more ways than one, says DxO
  • http://www.imaging-resource.com/news/2014/09/23/apple-iphone-6-and-6-plus-get-dxoed-trounce-their-big-competitors-from-sams
• Considering an iPhone 6 Plus? This is the most beautiful camera(phone) review we’ve ever seen.
  • http://www.imaging-resource.com/news/2014/09/19/considering-an-iphone-6-this-is-the-most-beautiful-cameraphone-review-weve
• Find out if that disposable battery’s dead without any extra gear (and learn why it works)
  • http://www.imaging-resource.com/news/2014/10/02/find-out-if-that-disposable-batterys-dead-without-any-extra-gear-and-learn
• Lightroom becomes focus-point aware thanks to this cool, free plugin
  • http://www.imaging-resource.com/news/2014/09/24/lightroom-becomes-focus-point-aware-thanks-to-this-cool-free-plugin
• Amateur camera hacker aims to put Sony A7 guts into Leica M3 body
  • http://www.imaging-resource.com/news/2014/09/26/amateur-camera-hacker-aims-to-put-sony-a7-guts-into-leica-m3-body

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Signoff

That's it for now, but between issues visit our site for the latest news, reviews, or to have your questions answered in our free discussion forum. Here are the links to our most popular pages:

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Happy snapping!
Dave Etchells & the IR Editorial Team

[email protected]
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