显示标签为“Honors”的博文。显示所有博文
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2011年5月6日星期五

Obama Honors Victims of Bin Laden at Ground Zero

The hushed ceremony, on a sunny, breezy day, was a somber coda to a triumphal week that began with Mr. Obama’s announcement Sunday night that American commandos had killed Bin Laden in his fortified compound in Pakistan.


Unlike so many other memorials held in this place, Thursday’s was not just to mourn those who died but to celebrate that, at last, a measure of justice had been done.


In a four-hour visit that included stops across Manhattan, the president held one-to-one meetings with people whose lives had been wrenched apart by Bin Laden: relatives of the victims, as well as firefighters, police officers, and other rescue workers who lost comrades that morning nearly a decade ago.


“Obviously, you can’t bring back your friends that were lost,” Mr. Obama said to the crew at a firehouse in Midtown that lost 15 men, an entire shift, at the World Trade Center.


“What happened Sunday, because of the courage of our military and the outstanding work of our intelligence, sent a message,” he declared. “When we say we will never forget, we mean what we say.”


The visit was Mr. Obama’s first as president to the patch of lower Manhattan that the attacks turned into hallowed ground. And the president was clearly eager throughout the day to remind the American public of the deeply personal reasons he ordered a risky, violent military operation half a world away.


“A lot of you have probably comforted loved ones of those who were lost; a lot of you have probably looked after kids who grew up without a parent,” Mr. Obama said to police officers at the First Precinct station house. “What we did on Sunday was directly connected to what you do every single day.”


Administration officials played down Mr. Obama’s absence from ground zero since he entered the White House. He visited in 2008 as a presidential candidate and plans to return this September for the 10th anniversary of the attacks, they said.


In 2009 and 2010, he went to the memorial for those killed at the Pentagon.


Nobody at ground zero seemed to begrudge the president his decision to visit now, even the construction workers who had been expelled from the site so security teams could sweep it before his appearance.


“Bin Laden’s death, that’s a long time coming,” said one of the workers, Eric Bellaby, 31, of Rockland County. “It’s something we all wanted for a long time. So it’s a feeling of relief now that he’s gone.”


Two hours before Mr. Obama’s arrival, hundreds of onlookers had already gathered south of the site, at the intersection of Greenwich and Liberty Streets. As the crowds waited to pass through tight security, a woman peddled $2 American flags and buttons that said “Mission Accomplished.”


Mr. Obama placed the wreath at the foot of a tree, known as the Survivor Tree, that had been wrested from the rubble, nursed back to health, and replanted as a memorial.


Then he stood silently, his head bowed and his hands clasped before him. Behind him loomed one of the cranes that are rebuilding the site, briefly stilled.


Uniformed rescue workers stood in an honor guard, alongside relatives of the victims.


Mr. Obama sought out a 14-year-old girl at the memorial, Payton Wall, who had recently written him a letter about the loss of her father, Glen James Wall, in the attack. He also met privately with 60 other relatives of the victims.


“It means, like, the world to me,” Christopher Cannizzaro said of meeting the president after the ceremony. The boy, who was 10 months old when his father, Brian Cannizzaro, a firefighter from Brooklyn, was killed, gave Mr. Obama a fist-bump and a prayer card with his father’s picture.


His mother, Jackie Cannizzaro-Harkins, said, “It gave us a sense of closure.”


Manny Fernandez contributed reporting.


View the original article here

2011年4月23日星期六

State of the Art: A Camera That Honors Old Virtues

 

In the last few years, the definition of a camera has been pulled and twisted like taffy. Some are huge, heavy machines with lenses like telescopes. Others are candy-colored minis, as much fashion statements as recording devices. Some are specialized for use underwater or taking hundreds of shots a second. Some are phones.


And the new Fujifilm X100 is — different. Quirky, amazing, baffling, out-there different.


For starters, it’s been designed to look exactly like some Leica film camera from 30 years ago. The top portion and bottom plate have been “die-cast from magnesium alloy” (it’s silver metal, in other words); the grippy part is black and textured. The control dials are physical metal wheels, so you can check the settings even before you turn on the camera.


The retro look gets plenty of stares in public. The joke is that you know you are carrying the very latest, cutting-edge, $1,200 semiprofessional camera, but passers-by think you’re the last Luddite film buff in America.


That’s right, $1,200. Pro photographers have been drooling over the arrival of this thing for months; it’s no point-and-shoot, that’s for sure.


You’re expected to know something about photography if you use this camera; for example, there are no scene modes at all, like beach, twilight, portrait. Instead, there are dedicated shutter speed and exposure dials on top and a metal aperture control ring around the lens.


If you know how to use aperture and shutter speed controls, no camera on earth gives you quicker and more direct access. (Each of these controls also has an automatic setting.)


As a further reminder that this camera isn’t for the Wal-Mart masses, this camera also has — are you sitting down? — no zoom. That’s right; it has a fixed nonzooming lens.


A nonzooming lens has a bunch of advantages. It’s flat, so it makes this camera small enough to slip easily into a coat pocket or purse.


It never has to extend or retract, so the camera is ready to shoot instantly after you flip its clicky on/off switch. And it ensures that photos are razor-sharp across the entire frame, with little of the distortion that can result at the corners when you use zoom lenses.


But no zoom? Really? That seems awfully Cro-Magnon in an age when much cheaper pocket cams can zoom 18 times or 20 times.


Real photo devotees don’t see a fixed lens as a huge detriment. They see it as a limit that inspires compositional creativity, like the 140-character limit on Twitter. And on the X100, the lens is the equivalent of a 35-millimeter film lens, perfect for portraits and a nice balance for landscapes.


Other fixed-lens digital cameras, like the Sigma DP2, embrace the same design philosophy — eliminating zoom for the sake of compactness, speed and quality.


But one X100 feature in particular sets it far apart, and accounts for a big chunk of its price. It not only has an eyepiece viewfinder, but a switchable one. It can be either a pure glass viewfinder that you see right through, as on an S.L.R., or a tiny TV screen; you switch back and forth by flipping a lever by the lens.


When it’s in see-through mode, you get a bright, big, beautiful view of the world around you, complete with superimposed electronic information about your settings. When it’s in electronic mode, you see a preview of the actual photo you’re about to take, complete with exposure, depth-of-field and white-balance effects.


Each is useful in different situations, and it’s fantastic to be able to flip between them. A truly great feature, beautifully executed — a photographic first.


It’s also an f/2.0 lens, meaning that it lets in a lot of light; this camera does exceptionally well in low light, even without its built-in flash. It can also create absolutely gorgeous blurred background effects. The photos have a clarity, a depth, that you’d expect from a still more expensive S.L.R.


On a spring-break trip to a theme park, this camera produced some of the most memorable photos of my children I’ve ever taken.


It also ruined a lot more shots than any camera I’ve used.


 

2011年4月21日星期四

State of the Art: A Camera That Honors Old Virtues

 

In the last few years, the definition of a camera has been pulled and twisted like taffy. Some are huge, heavy machines with lenses like telescopes. Others are candy-colored minis, as much fashion statements as recording devices. Some are specialized for use underwater or taking hundreds of shots a second. Some are phones.


And the new Fujifilm X100 is — different. Quirky, amazing, baffling, out-there different.


For starters, it’s been designed to look exactly like some Leica film camera from 30 years ago. The top portion and bottom plate have been “die-cast from magnesium alloy” (it’s silver metal, in other words); the grippy part is black and textured. The control dials are physical metal wheels, so you can check the settings even before you turn on the camera.


The retro look gets plenty of stares in public. The joke is that you know you are carrying the very latest, cutting-edge, $1,200 semiprofessional camera, but passers-by think you’re the last Luddite film buff in America.


That’s right, $1,200. Pro photographers have been drooling over the arrival of this thing for months; it’s no point-and-shoot, that’s for sure.


You’re expected to know something about photography if you use this camera; for example, there are no scene modes at all, like beach, twilight, portrait. Instead, there are dedicated shutter speed and exposure dials on top and a metal aperture control ring around the lens.


If you know how to use aperture and shutter speed controls, no camera on earth gives you quicker and more direct access. (Each of these controls also has an automatic setting.)


As a further reminder that this camera isn’t for the Wal-Mart masses, this camera also has — are you sitting down? — no zoom. That’s right; it has a fixed nonzooming lens.


A nonzooming lens has a bunch of advantages. It’s flat, so it makes this camera small enough to slip easily into a coat pocket or purse.


It never has to extend or retract, so the camera is ready to shoot instantly after you flip its clicky on/off switch. And it ensures that photos are razor-sharp across the entire frame, with little of the distortion that can result at the corners when you use zoom lenses.


But no zoom? Really? That seems awfully Cro-Magnon in an age when much cheaper pocket cams can zoom 18 times or 20 times.


Real photo devotees don’t see a fixed lens as a huge detriment. They see it as a limit that inspires compositional creativity, like the 140-character limit on Twitter. And on the X100, the lens is the equivalent of a 35-millimeter film lens, perfect for portraits and a nice balance for landscapes.


Other fixed-lens digital cameras, like the Sigma DP2, embrace the same design philosophy — eliminating zoom for the sake of compactness, speed and quality.


But one X100 feature in particular sets it far apart, and accounts for a big chunk of its price. It not only has an eyepiece viewfinder, but a switchable one. It can be either a pure glass viewfinder that you see right through, as on an S.L.R., or a tiny TV screen; you switch back and forth by flipping a lever by the lens.


When it’s in see-through mode, you get a bright, big, beautiful view of the world around you, complete with superimposed electronic information about your settings. When it’s in electronic mode, you see a preview of the actual photo you’re about to take, complete with exposure, depth-of-field and white-balance effects.


Each is useful in different situations, and it’s fantastic to be able to flip between them. A truly great feature, beautifully executed — a photographic first.


It’s also an f/2.0 lens, meaning that it lets in a lot of light; this camera does exceptionally well in low light, even without its built-in flash. It can also create absolutely gorgeous blurred background effects. The photos have a clarity, a depth, that you’d expect from a still more expensive S.L.R.


On a spring-break trip to a theme park, this camera produced some of the most memorable photos of my children I’ve ever taken.


It also ruined a lot more shots than any camera I’ve used.