Sep 252014
 

Country visions

By Doug Barry-Martin

Hi Steve,

Having followed your blog for some time now it is interesting to see its influence on my photography . I now shoot some landscape subjects with a narrow depth of field to focus more on the subject whereas before I probably may not have considered it.

I recently had the opportunity to stay at a farm in a rugged valley near Nelson, New Zealand.  It had been raining for a few days and the morning was cold and dark and a bit misty so I took the opportunity to get out my old faithful combo of 5D Mk1 and 24-105 L lens. It is still my best camera and I enjoy using it despite its primitive menu and hard to read viewfinder info. Yes the 7D is a much better camera to use but I enjoy the slower 5D more (and the image quality eats the 7D). My Fuji X100 is a great companion to the 5D and a useful hiking camera but again the 5D has better IQ. I have recently also bought a Panasonic LF1 and it is a very handy and fun pocket cam but not for serious photography.

The 5D handled the gloom admirably and gave me some nice moody images.

The shot of the shed is two images combined.

You can see more on my Flickr site. www.flickr.com/photos/dougbm/

Keep up the good work. It is great to have a photo site like this where we can get inspiration from many different photographers.

Regards

Doug

Your holiday accommodation awaits…

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Beautiful girl…

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140 year old walnut trees and happy chooks

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Lovely views from the farm

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The old shed

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I am lichen this fence post. : )

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Deep in the woods…

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Sep 182014
 

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Re-Visiting the Canon Dream Lens, 50 f/0.95

When we choose and buy our cameras some of us fail to realize that the heart of our camera is not our sensor or the camera body itself, it is the lens. The lens is what makes the camera “see”..it is what delivers the image to the sensor..it is the eyeball of your camera. The better the lens, the sharper your image, the more correct and richer the color saturation and you will also have the least amount of distortions. Choosing the right lens for your camera is the same thing as a painter choosing the right brush for whatever job they are doing.

For example, if I want a nice portrait lens when I am shooting a Leica M, it is hard to go wrong with a 90 Summicron APO. if I want wide angle, there is the Voigtlander 15 or Leica WATE. When I want subject isolation , a 50mm Summilux or Noctiliux fits the bill. Each lens delivers a different look, this is a fact. Some lenses are soft, have distortions and issues, yet they can still create a nice image. Some lenses create sloppy or horrible bokeh and others will give you creamy bokeh that just melts. Again, choose the lens for what you are trying to achieve.

Lenses ARE the heart of your camera system yet so many of us skimp on the lens. I wonder why? Why am I babbling on about this? Well, it is a longish story but one that I am happy to tell because the lens I am talking about today is a special one, and even a controversial one at times, but it is a beautiful lens to me regardless. One of those lenses you pull out when you want THAT look that only it can give.

Over a year ago, in June of 2013, I wrote a review on a unique lens that had gained a cult following of sorts. A lens that was known for having a crazy “dream like” rendering when shot wide open at its uber fast aperture of f/0.95. Up there with lenses like the original Noctilux or the Canon 85 1.2L. The Canon was a lens that I never saw in the flesh but was wowed by in photos (sometimes) that were taken by others using the lens. It was a quality that I never saw in ANY other lens, cheap to crazy exotic. While a lens like the Leica Noctilux is technically superior to this “Dream Lens”, it can not do what this lens does and vice versa.

The Canon 50 0.95 “Dream Lens” was originally made for the Canon 7 Rangefinder film system of the 1960’s and 1970’s. The 50 f/0.95 was the super fast aperture solution when shooting the Canon 7, and when you look on E-Bay or classifieds for this lens today you will mainly see it in the Canon 7 Rangefinder mount which is unusable for Leica M shooters unless it is modified for M mount use.

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There have been a few of these 50 0.95’s sent in for a Leica M conversion and some have been done horribly bad, some have been done pretty nicely, and some have been done superbly, as in, they could not have done it better. Some have even added a 6 bit code to the lens so the digital Leica M will recognize it as a Noctilux and apply corrections. Pretty slick.

To those who own this lens in M mount, they usually adore it and most say they would never sell it. Because of this,  you do not see too many out there in great shape with a proper M mount conversion because if you do sell your mint M mount copy, chances are it will be very hard to find another just as good, ever. I should know, that is exactly what happened to me. After writing my review over a year ago I had a flood of e-mails offering me crazy money to buy my lens. I loved it and did not want to sell but I usually love money more than gear and get it when I can (money), especially if it ended up where I actually made a few bucks. So I sold my last version over a year ago which was an 8/9 out of 10 for condition, focus and IQ. It was so so good!

Of course, after I sold the lens I missed it within 2 days, even with $3500 in my bank account from the sale. I regretted that sale more than almost any other sale I have made in my photographic life. WHY? Not because this lens was such a technological marvel, or super sharp or up there with the likes of the Noctilux. Nope. I missed it because when I was shooting a 50 Lux the day after I realized I would never again have that special look that this lens gave me. In reality, this lens is a special effects lens when shot wide open and when shot from f/2 on it is like a normal fast lens but very sharp and with a very creamy draw. But it is the wide open use is what gave this jewel its nickname of Dream Lens. It renders the background into a dream like blur. A watercolor effect almost. It is pretty amazing IMO. As I said, nothing like it out there and to be able to use it on a Leica M or Sony A7, in full frame, as it was meant to be shot but with modern ISO capabilities..wow. Take a look at the Flickr page for the Dream Lens, which has been up for years and funny enough, was started by Ashwin Rao! LOADS of samples there that will show you what this lens does.

So yea, I missed it after I sold it. Damn! Even though my last copy sold for $3500, and I had a few who wanted it at that price, and even one offer at $4000 that came after I sold it, I still regretted the sale.

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So I started my search for another MINT copy

Since the last sale I kept an eye on e-bay and some classified sites searching for the perfect copy of this lens. I was picky. I was waiting patiently for the “one”, hopefully a 9/9.5 out of 10 and I wanted a hood, cap and 6-Bit coding. I was ready to pay up to $3k for one and did see some on E-bay from China that were selling for $2800-$3000 but was hard to trust those sellers as you never know just how the lens will be. Will the focus be spot on for the RF? Will it be clean without scratches or haze or fungus? It was a chance and shipping from China to the USA was a little risky, though it could have and most likely would have worked out fine. Still, I waited until I came across one that was either local or close to it.

Then I found one…

Then, as I was ready to lose patience and jump to buy a “92 out of 100″ rated dream lens on e-bay from a vendor in China I saw a a Facebook notification, as it was a sign.. it was a a post with images of a MINT M Mount Canon 50 0.95 with 6 bit coding. Hmmm. I even knew the guy, Jeff Warren, as he was at my last workshop in Nevada! He even lived in Los Angeles, a 5-6 hour drive from me. Jeff hinted that he MAY be selling in that Facebook post so I messaged him and we chatted, I thought for a bit and I bought it. He even sent it Fed Ex overnight, the same day, for no extra charge. I received the lens in less than 24 hours from the moment that I sent him the money via Paypal, 19 hours to be exact.

My main concern was that it would be off with the Rangefinder of the Leica because at 0.95 there is a VERY thin DOF. Any misfocus would be a nightmare as I have experienced first hand with a few fast lenses over the years.

Luckily it arrived and it looked amazing, a solid 9/10. The glass was/is perfect. No issues. I mounted it to the MM (no need for an adapter as this is M mount with 6 Bit) and fired away some shots. Perfecto! I mounted it to the A7s with a Voigtlander M to E adapter and even more WOW. Was so awesome shooting it on the A7s. Easy to focus with the large EVF and it felt really good on the A7s body. NOW THIS is a low light combo to dream for.

ULTRA THIN DOF at 0.95 – Sony A7s.  Some vignetting when used on the A7s at 0.95, that is the only issue. Look how TINY the in focus area is on the block wall. The rest is not lens softness, it is BOKEH, all out of focus due to the extremely small depth of field. 

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Regrets?

So after a couple of hours being happy as a newborn baby with a mouthful of milk I asked myself…”so, do you regret buying this for so much money“? My answer to myself was NO!! I was HAPPY, I was THRILLED, I was ECSTATIC. I told myself that I would not sell this one. But I have been here before, with many lenses that I swore I would never sell. None of them have tugged at me like this one though. Sure, I have owned them all – the Noctilux f/1 and 0.95, the SLR Magic 50 T 0.95 Hyperprime, the Mitakon Speedmaster and of course the Summicrons and Summilux lenses, which are all gorgeous and technically amazing. But this lens just does something special and while it is not an every day lens, it could be if you stopped it down to f/2 or f/2.8.

I am going to start using this lens with the A7s, MM and M in various locations and clubs shooting local live bands, which on many occasions shoot in near darkness to small crowds, ver small crowds. This is a lens that will do great things in these scenarios I think. I am also going to bring it out for certain portrait sessions, to add that extra flair and uniqueness that you do not see in many photos these days. I am not talking about just doing the whole shallow DOF Bokeh thing, but using it artistically and effectively.

I missed focus on this one with the A7s somehow, but I still like it :) A B&W filter was applied in processing.

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The fact is that this lens brings us a “draw” that no other lens does. Period. This lens is also pretty rare set up in an M mount with 6 Bit coding. It is even rarer to find this in a 9/10 condition. I am vowing to hang on to this lens!! Hehehe. We will see.

When I wrote about this lens in my 1st review I mainly used it with the M 240, which also rocks with this lens. Since I did that review with the M, I wanted to focus on using it with the A7s and Monochrom this time around, so this is what this article will be about.

The Canon 50 0.95 on the Sony A7s. I also have my JB grip on the camera as well as a ARTISAN OBSCURA sticky soft release.

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First up, the Sony A7s and the 50 0.95

With the new Sony A7 series, particularly the A7s (my fave of the three) this lens takes on a whole new world of possibilities. For one, this classic fast lens can now be used on a full frame mirrorless camera with integrated EVF and up to insane ISO’s. Much like the Mitakon I reviewed a while back, this lens will make the A7s a true king of the night. At f0.95 and ISO capability up to 100k usable, there will be no light that you can not shoot in, period. Add to that the moody possibilities and artistic weirdness that the Dream Lens puts out and you can create images that not many others can even get close to in style and flash. Of course, you have to know your stuff..know what you are doing, otherwise the images will look bad, even VERY bad.

But use your skill to its fullest and you can create some interesting images that are worthy of framing. Images that people will see and say “wow, how did you do that”.

When this lens is on the A7s using the Voigtlander close focus adapter you can focus in VERY close. MUCH closer than you can when using it on the M or MM. This is invaluable and will even make the dream lens MORE dreamy. It is true, when this lens was given the name “Dream Lens” it was for a reason. Just take a look at my original review to see some dreaminess with the M 240.

When I used this lens with my well used A7s, I think it was the best ever match for this lens, and the good news for A7 shooters is that you do not need to find the rare M mount version to use this on the A7. you can now buy a standard Canon 7 version of this lens, of which they are plentiful on e-bay, and use a canon 50 0.95 to E mount adapter. This can save you about $1,000 when buying the lens if you only want to use it on a Sony A7 body.

After realizing this, I started to really realize how special the Sony A7 series is. I mean, I knew it was already but there is no other full frame system out there that can do what the A7 series does, especially the A7s. This is the 1st ever camera, full frame, that will allow you to use this Dream Lens and even use it with close focusing, AND nail focus due to the critical focus you can achieve with the EVF and magnification.

I love this on my MM and M but for the ultimate Dream Lens experience I think it should be shot on an A7s. End of story. After using it with the A7s I wanted to carve my name in the side to assure I never am tempted to sell it for some quick cash. :) I did not do this of course but I have to say, I love this lens. Below are some images with it on the Sony A7s.

All images below are from the Sony A7s and Canon 50 0.95, WIDE OPEN. You must click on the images  to see them larger and in the correct way. If you do not, you will not see  them the way they were meant to be seen.

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As you can see this lens can perform well on the Sony A7s, in daylight or in darkness. In fact, I prefer it to the original Leica Noctilux f/1. It is sharper at the focus point and has a nicer draw for my tastes. It is also easier to hold and balance on the camera. The more I use this lens on the A7s and Leica cameras, the more I realize just how special of a lens it is. At the average cost of $3-$3500, it is a great lens to add to your collection if the look and capabilities it can offer are to your liking.

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On the Leica MM this lens is a wonderful match as is any classic lens. I feel the Mono is at its best with classic glass over modern analytical glass and this Dream lens helps to round it all out. The IQ is stunning and while not like a Noctilux 0.95 in perfection it has its own Mojo going on that can not be denied.

Before I keep on going on about my love for this lens, I will say that not everyone will like this lens. Some will HATE it. Many like what I call “The Summicron Look”, which is clean, crisp, sharp and even. Many who love that look HATE the look of the Canon Dream Lens. They will say the Bokeh is awful and busy and the lens is soft (it is not soft though). So before you even think about this lens,make sure you LOVE what it does because if you do not then you will tire of it.

With that out of the way, using it on the MM is quite lovely. You lose the closer focusing of the A7s but you are shooting in pure B&W and this lens loves B&W. It has a nice micro contrast  that is gentle and allows your subject to pop while the edges and background just melt away into a fantasy land. Wide open it is quite crazy. Stopped down it is nice and smooth.

The main issue with users of the Leica M or MM is you want to make sure the M mount Dream Lens you find/buy is good with your cameras RF. Many old lenses are off, and if your lens or your camera is off just a hair, the lens will be a challenge to focus. If possible, test the lens before buying, which in 99% of cases is impossible I know.

The B&W from the MM and this lens is richer than the A7s with B&W. It’s a whole different style of shooting as well, much different. RF shooting is something that will be rewarding when you get out there and get those shots using manual focus and manual controls.

Below are a few shots with this lens on the Monochrom.

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Getting the most from the Dream Lens requires a few things..

If you choose to buy or use this lens or even if you have one and are thinking, “My shots do not look that good, mine are low in contrast and softer and do not pop like these”, then read on as I will tell you how to get this look from this lens. The Canon 50 0.95 lens is a lens with lower contrast than most modern lenses so when you process the photos you must do a couple of things to bring out the goodness in the files :)

First, PLEASE shoot RAW. This is not an OOC JPEG type of lens. For you to get the best from it you need to bump the contrast and add some sharpening as well. I shoot RAW and when processing the RAW file I bump the contrast slider up until it looks good without going overboard. I also mess with the shadow slider to bring out shadows that were covered by the contrast slider. I may also tweak the highlight slider if needed. Add some sharpening and convert that file to a JPEG. That is all you have to do, but when you do it take s an OK image and makes it into one that will be much nicer looking. To those who complain about this lens saying it is soft, low contrast, or has issues..well, you either have a bad copy or are not using it correctly. I recently saw a comment on a popular forum that was a reply to someone asking about this lens..the reply? ” that lens sucks. A coke bottle would give you better images at f/0.95. It was mostly a bragging rights lens by Canon that was made especially for the bling-bling gold Rolex watch, silicon boobs, Lamborghini owners. My thing is bigger than your thing kind of thing……..” 

It is safe to say that this person had no clue as to what they were talking about. :) The lens is beautiful and sharp even wide open. In fact, I find it sharper wide open than the original Leica Noctilux F/1.

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My Original video on the Canon Dream Lens

I did a video over a year ago on this lens with my thoughts on it back then. If you missed it, take a look below:

Final Word on the Dream Lens

I will tell you what I told you over a year ago HERE in my original review…

If you lust after this lens, BUY ONE if you can find one in great shape. Prices have went up and will continue to go up. Mark my words. In two to three years this lens will be hovering around $5k for an M mount, mint, with cap and hood, 6 Bit coded, maybe more than that in 3-5 years. It offers just as much fun as the Noctilux 0.95 with more uniqueness for 1/3 the cost, 2/3 the size and 1/2 the weight. For me it even beats the old Noctilux f/1, which Leica created due to this very lens.

If you shoot a Sony A7 series camera it is so good on these bodies, a truly drool and lust worthy piece. If you shoot an M you can use live view for critical focus and on the MM it is a beauty. But do not expect perfection, not at all. This lens is not about being perfect. It has some vignetting, it can be soft looking if you mis focus and  the contrast can be slightly low if you do not tweak it. What makes this lens so sought after is the Bokeh, which is unlike any other lens ever made. You can really make some images that are very painterly with this guy.

At the current price of around $3200 for a mint M mount copy they will not be heading down or getting cheaper. If you like the look of the images here, in my original review, or on the Flickr group then this  is the only lens that will give it to you. Happy Hunting and if you own this lens, leave a comment letting us know how you like it, how you shoot it and what you shoot it on! Thanks everyone!

Steve

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Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website. Many times I give away these items in contests to help give back you all of YOU.

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Sep 052014
 

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The little camera that could. The Canon G10

By Seong Kim

Experimenting with a used $100 camera I purchased online 2 weeks ago. The seller of the camera asks “how come you want this old thing?” I told him it’s for experimental purposes as I am in pursuit of creating medium format style images with a point and shoot camera.

With many years of searching for the best system that suits my needs I have come to a realization that most camera’s out there do the exact same thing. My analogy to this statement is this… “A silver pen is a silver pen which could cost $500 or more… and a plastic pen is a plastic pen where you can receive for free from a business with their logo on it. They both do the same thing, however the person that is behind the pen and writes the stories is what truly matters.” Unless you’re using a crayon that’s a completely different story but I won’t get into that here.

When I landed on the famous President Barack Obama’s Inauguration image by David Bergman, totalling in size of an amazing 1474 megapixels (59783 x 24658 pixels) I was blown away to say the least. I said to myself “This camera must be some sort of crazy expensive system…” Excited as I was, I kept reading the details of how this shot was produced. When I saw the words+numbers Canon G10 my jaws dropped and I said to myself… “I MUST DO THIS.” Immediately I searched online for a used Canon G10 and poof, on sale via local resident for $100. Next I pursued to look for the Epic Gigapan system Mr. Bergman used and luck has it, my local camera shop had all three models. Double smile for me as I did not have to wait if I were to have purchased it online… Even better, they had the exact unit I needed as a their floor model and it was on sale… Without hesitation I said to the manager “I’ll take it.”

Back at the studio, I setup the camera and Epic system and after a few test shots and viewing youtube tutorials, I created my first medium format style image consisting of 9 shots.

Using MF systems such as the H4D’s and the classic 500CM’s… also the high res DSLR “D800E” of course these camera’s IQ is far beyond what the little guy can produce… However to the normal eye, and none photo world, people probably won’t realize which is which… But to the avid camera tech enthusiasts and professionals I am sure you’ll see the difference… H4D 40 at $20K and Canon G10 at $100 a big price gap…

So after producing this 9 shot image totalling a 71 mega pixel count… Not even close to Mr. Bergams Obama image of 220 images at 1474 mega pixels you can still see the great IQ at only 71 mega pixels with 9 shots taken with the Canon G10. After stitching the images together, I ran a large format test print 34″ x 35″ at 300 DPI. The results are fantastic.

Without further ADO, below are the results of the Canon G10 + Epic system which produced my first medium format style image. Pretty impressive for a 14.7 Megapixel point and shoot camera… Full size images and virtual view is available for your pleasure.

Thank you kindly,

Seong Kim // www.seongkim.com
Calgary, Alberta, Canada
Screen shots at full view + 100% crop + Virtual view of entire image towards the end.

Printed on 54 inch wide format printer // 4 colour process, my printer prints with a tint and did not bother to adjust as this is a test print to view the image quality specifically the resolution not colour. Please excuse the difference you will see between the screen shots and virtual view.

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Pretty sharp for a little guy. “This is a photo of the print”

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Jul 312014
 

Lens Turbo II Review

By Henrik Kristensen

Hi My name is Henrik Kristensen, and I am so lucky to be able to share my work on this amazing site. English is not my strongest, so hope it’s not to bad – Feel free to ask is there is any doubt. Got a small Danish camera site (Kameravalg.dk), and recently received the brand new Lens Turbo II adapter, and want to share my experience with it. Its pretty much a cheap Metabones adapter, thats turn your APS-C Sony NEX camera into full frame – Or that’s what the ad tells you :-) … It will provide 0.726x magnification and increase aperture by 1 f-stop, using Canon EF lenses on the Sony E-Mount platform.

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The setup:

I’m a hobbyist photographer, and often just use “Auto” settings, so this review was quit a challenge, since this is a 100% manual adapter with no electronic.

To start with this is my setup:

- Sony NEX-3N mirrorless

- Canon 24-105L f4 lens (Rentet)

- Lens Turbo II adapter – Canon EF to Sony E-Mount

(All pictures have been shot in .jpeg with no editing done)

To show the size and how its work, I made this little film.

And just a single picture, the Canon 24-105L mountet on my Sony NEX-3N with the Lens Turbo II adapter.

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Maybe a detail, but on the new version they have removed the red text and made it white – Looks way better + the black and white match the NEX-3N great I think.

The First day:

As told in the top, I have just rented the Canon 24-105L, so the first day was used just to get learn how to manual focus etc. The first test was the range, and with the 0.726x magnification this adapter got, you get pretty close to the Full Frame experience on this point. 

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24 vs 105mm, and to me this is a GREAT range when shooting on a daily basis. Is used to my old Sony 18-70mm, and the ~4x optical zoom range fits me very nice.

The adapter is all manual, and these was some of the first pictures I snapped that were in focus :-)

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Second day

Being a amateur photographer and alway use autofocus, the hole “Manual” thing was something I really feared.But there was nothing to fear, the “focus peaking” in the Sony NEX works like a dream, even if you never tried it before. On my NEX the peaking colors are “White, Yellow and Red”, all easy to see on the screen when the subject is in focus. The only problem I found with focus peaking, was that I REALLY missed having a EVF like NEX-6/7 or the A6000. I am sure it will make it much easier to see the focus peaking when the sun is bright, but not a deal breaker.

Lets see at some more pictures:

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One of the big problem with the first Lens Turbo, was the corners being soft and not sharp – A pretty big problem to most people. Being an amateur I will let people judge themself, but when compared to pictures taking by the old Lens Turbo, I think the new one is way better.

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Another problem with the first Lens Turbo, was an issue called “blue dot” – When shooting in the sun or bright light you could something see a blue “dot” on the pictures. Has only played with the Lens Turbo II adapter a short time, but has not seen this problem in ANY of my pictures  – Really looks like the new coating on Lens Turbo II has resolved this problem.

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After 2 days I had to deliver the Canon 24-105L back, and its time to look at the experience. Looking at the quality of the Lens Turbo II, I really got nothing to complain about. Its fit very well, and feels like a quality piece to put on your beloved camera. Is not a big fan of the release button to the lens, but think it’s a minor thing. Not being an expert, I will say that the adapter got a very nice optics performance – They have improved the corner performance compared to the old version, and the “blue dot” issue seems to be total gone.

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Using a small house like the NEX-3N I don’t think a bigger lens will be nice to work with, but the 24-105 is just about the right size to me. Using the adapter with focus peaking worked really well, and most people will learn it fast without any problem. It could be nice having a EVF + a bigger grip, but it’s no deal breaker.

Compared to the Metabones it’s almost on par in performance to my eyes, and it only cost 1/3 of the price ! – You don’t get the electronic connection, but with focus peaking it’s not a huge problem, and you can play with all the amazing Canon EF lenses.

It has been really fun to make this review, and it’s not the last time I play with the Lens Turbo II adapter ! … You can buy a Sony NEX-3N + the Canon 24-105L at a decent price second-hand, and the adapter cost around 165 Dollars = You got a very nice setup and a great platform to work with. -

You can see a lot more pictures on my site here:

http://kameravalg.dk/lens-turbo-ii/ (Unboxing)

http://kameravalg.dk/lens-turbo-ii-review-foerste-skud/ (First day)

http://kameravalg.dk/lens-turbo-ii-review-billeder-fim-og-tanker/ (Second day)

Thanks for reading! Regards Henrik Kristensen – Kameravalg.dk

Jun 232014
 

Canon FD 85mm f/1.2 on the Fuji X-Pro1

By Axel Friberg

Dear Steve,

This spring I bought the Canon FD 85mm f/1.2 from Ebay and a Metabones adapter for my Fuji X camera. Not the speed booster one. I wanted to get something close to a 135mm full frame equivalent on my APS-C sized sensor. A 90mm lens would have been ideal, but most 90mm’s out there have an f-stop of f/2.0 and I wanted something faster. I started looking at different 85mm lenses which would give me a 127,5mm FF equivalent. After some research, I decided to go with the Canon FD lens – The predecessor of the first generation Canon EF 85mm f/1.2L lens. Since I wouldn’t be able to use autofocus anyway, I went with the non-AF version. Here are some of my favorites so far:

Best regards!

Axel

1-250s, f-1.2 ISO1600 (overexposed by 1 stop)

1:125s f:1.2 ISO500

1:125s, f:1.2 ISO500

1:160s, f:1.2 ISO2500

1:850s, f:1.2 ISO200

1:4000s, f:1.2 ISO200

 

 

May 192014
 

One year with Olympus E-P5

By Baris Parildar

Hello Steve, first of all I appreciate everything you do for photographers. Your website and youtube channel have tons of great information. I check your website almost everyday and enjoy it. Thanks for letting me share my pictures with your audience. This is my first ever article about photography. I started taking pictures with a Canon T2i 3 years ago. And my life has changed so much since then. Photography and video making suddenly became our passion in life with my girlfriend. We spent almost all our weekends taking pictures, hiking, discovering new things about photography and sometimes making small videos. After using my T2i for 2 years, I came to a point that I started thinking about having a smaller camera with me all the time. T2i is not even a heavy DSLR. But I was usually carrying 2 camera bodies and 4-5 canon lenses. I had times thinking about leaving my camera and lenses in the middle of the long hikes. It is really though to carry all that stuff for hours.

So I decided to get on the mirrorless wagon. I checked out almost every camera out there and decided to go with Olympus. My first choice was the E-M5. I had the chance to play with the camera for a week. I got used to it so fast. Auto focus and sharpness was so good. I couldn’t believe my eyes when comparing it with my Canon shots. Only problem was the color reproduction. It took me a while to learn how to edit the color of OLYMPUS RAW files in Lightroom. I figured out that it was different. Not worse than Canon, just different. I needed to handle it more carefully. That week the new E-P5 came out. I found the look cooler than the E-M5. Since the sensor was the same, image quality would be the same. I bought the E-P5. And never left it at home for a year. Olympus 9-18mm is my main lens. It’s one of the best landscape lenses I’ve ever tried. I mostly shoot directly into the sun. It handles everything great. Almost as good as Canon L lenses. My everyday street photography lens is the Panasonic 20mm f1.7. This is all I need for quick shots even for some macro photography. I use it at f2 for portraits and don’t need anything more. I had the Olympus 45 f1.8 for a while but I had to sell it. That is a great lens too. Recently bought a Panasonic zoom telephoto and using it quite a bit lately.

I am so glad that I made the switch from Canon to Olympus. I don’t think I would be able to take half of the shots I took with a bigger camera body. Having a small camera lets you take it anywhere you want. And another great thing about this is, everybody thinks that you are an amateur photographer when you have a tiny camera with you. You are invisible with a mirrorless camera. I just love the look of people at me thinking I have no idea about photography. I show up next to photographers with huge full frame dslr bodies with my little E-P5 and most of the time I get the shot I want with a little effort and no back pain. I use 500px as my main portfolio website now. One of my shots with the E-P5 made it to “the most popular photo” on 500px which is a great honor for me. I get inspired so much with all those great pictures on that website everyday. I like to edit my photos. Some people may find them processed too much but I don’t think about what other people think when I edit my photos. Depending on how I feel, I might over process or sometimes don’t even touch anything on my photos. It totally depends on how I feel about the photograph and how I want to reflect my feelings.

Here are some samples from my one-year journey with the Olympus E-P5. I feel lucky to have such a great camera.

Thank you very much again for giving me this opportunity.

Baris Parildar.

 

Here are the links you can find more about my photos:

Personal website: www.barisparildar.com

500px: http://500px.com/Barisparildar

Instagram: http://instagram.com/barparildar

Flickr: https://www.flickr.com/photos/89927345@N03/

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May 192014
 

Experimenting with Digital Infrared

By Alexandra Shapiro

A few years ago, I began experimenting with infrared, or IR, photography (mostly landscapes). I am still a beginner when it comes to IR photography, and am constantly amazed at some of the stunning IR images that others produce. Although many of your readers may already be experts, I hope some find these thoughts and experiences useful.

Infrared light is not visible to the human eye, but can be captured on certain types of film and digital cameras. With film, it is necessary to use an infrared filter that blocks most or all visible light while allowing infrared light to pass through. This generally requires the use of a tripod and long exposures, as well as special infrared film. Most digital cameras filter out infrared light, so they are not great tools for infrared photography. However, there are companies that will convert a digital camera so that it can be used for infrared photography; you can also buy a conversion kit and do the conversion yourself. This is not for the faint of heart, since you can ruin a camera if you are not careful; most people probably use conversion services instead.

After doing a fair amount of research on various conversion companies, I decided to convert an older model camera using lifepixel (www.lifepixel.com). There are lots of potential pitfalls with the conversions, and not all cameras or lenses work well. There are a number of conversion companies that repeatedly get negative reviews, with users reporting that their conversions were botched, but Lifepixel consistently gets excellent reviews. They will convert a fairly wide range of cameras, and their website has detailed information on any unique traits of particular camera models that they convert. Panasonic, Olympus, and Sony mirrorless cameras apparently work very well, as do many Canon and Nikon DSLRs.

In addition, Lifepixel (like other conversion services) has several different types of infrared filters to choose from. The filters are installed inside the camera, after the filter that the camera came with to prevent IR light from passing through is removed. You can choose an IR filter that produces only black and white images, or a color filter. You can also choose a “full spectrum filter” that lets visible light as well as infrared light pass through to the sensor. This gives you more flexibility, but you will probably need to use IR filters on the lens to get IR effects.

During the conversion process, the camera is also adjusted to ensure that metering and auto-focus are adjusted for infrared light. Unless you send a lens for calibration, the camera’s auto-focus is adjusted based on a standard lens used for that manufacturer’s cameras. For example, Canon DSLRs are adjusted using a Canon 50 1.8 II lens unless you opt for the custom calibration service and send in the lens you prefer to have the camera calibrated with. Of course, fixed-lens cameras are calibrated using the built-in lens.

I like the look of black and white infrared, but prefer using a color IR filter to have the added flexibility, since obviously color images can be converted to black and white. I started with a small Canon DSLR, because I already had several good Canon lenses. I found a good deal on a refurbished Rebel T2i, a model that had been discontinued, and sent it to Lifepixel for conversion with their “supercolor” filter. I recently decided to upgrade to full frame and found a deal on eBay for a used Canon 5D (original version) that had already been converted by Lifepixel with an “enhanced color” filter. The IQ with the 5D is noticeably better than with the T2i, but there is a downside: the 5D does not have a live view function, which can be very useful with IR photography. Also since it is an older camera the LCD is small and the menu system and ergonomics generally are not as nice as on newer Canon models.

In order to get proper white balance, and have the most flexibility with the images, it is best to shoot raw. On many converted cameras, you can set a custom white balance that will allow you to use your LCD to check whether the white balance is correct. However, on some models (for example, certain recent Nikon DSLRs) that is not possible; the image will look quite reddish on the LCD, and you will need to use conversion software to fix the white balance in post. IR photography requires a fair amount of post-processing in any case. Most websites say that to fix the white balance (or to have your raw conversion software recognize the custom white balance you set in the camera) you have to use the camera maker’s raw converter. However, I recently learned you can create a preset for Lightroom’s “camera calibration” setting that allows you to convert your images from raw in Lightroom instead. This link has instructions for how to do this (http://www.luminescentphoto.com/blog/2013/07/15/setting-white-balance-on-infrared-images-with-lightroom-with-video/). I now do all my raw conversions in Lightroom instead of using Canon’s raw conversion software.

My workflow is generally as follows: I import my raw images into Lightroom and use the camera calibration preset I created so I can see them with the custom white balance set in-camera. Then I perform adjustments to white balance, sharpening, and exposure in Lightroom, and export to Photoshop CS6 to make further edits after the raw conversion. The first step in Photoshop for me is usually channel-swapping, which is useful for getting the “deep blue sky” effect that many interesting IR images have. This involves changing the red channel to 0% red and 100% blue, and changing the blue channel to 0% blue and 100% red. Then if I want to keep the image in color I play around with levels and other adjustments to get whatever effects seem most interesting. For black and white, I generally convert using plug-in filters from Alien Skin Exposure 5 or Perfect B&W 8.

When I first started, I noticed that sometimes the images seemed very soft, or did not have the dramatic contrasts or deep blue skies or white foliage I was hoping for. I found that I could get sharper images when shooting in bright sunlight (the harsh sunlight in the middle of the day is great for producing dramatic IR landscapes); using small apertures (I prefer F8 to F16). Sometimes the AF is off, but if you have a camera with live view or an EVF it is easy to correct that with manual focus.

I shot the first eight images below during Steve’s Valley of Fire workshop this past February. That was the first time I used the 5D; the lens is Canon’s 24-105 L. The remaining images were taken with the T2i and various lenses; those were shot in Austerlitz, New York and Big Sky, Montana.

More of my photos can be found on this flickr page https://www.flickr.com/photos/27953454@N07/

Valley of Fire Canon 5D 1

Valley of Fire Canon 5D 2

Valley of Fire Canon 5D 3

Valley of Fire Canon 5D 4

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Valley of Fire Canon 5D 6

Valley of Fire Canon 5D 7

Valley of Fire Canon 5D 8

T2i 1

T2i 2

T2i 3

T2i 4

T2i 5

May 082014
 

10 Days in Israel with the Sony a7 and vintage Canon FD Lenses

By Thomas Neumayer

Due to the reviews about the Sony A7 on this nice site I recently upgraded from my NEX-5 to an A7, and I am happy with the choice.

I am just an enthusiast photographer. Coming from analog times, when I first used my fathers two-eyed 6×6 Rolleiflex as a teenager (darkroom and all), then a Canon F1, I am now still using vintage Canon FD Lenses on my A7, with, to my eye, very decent results.

I just spent 10 days in Israel, together with my wife and my one year old little Ella, and I’d like to share this journey here photography wise. Please, have compassion for the fact that my little daughter darling appears quite frequently on the pics, I cant’ help it.

We first spent some days in Haifa, then went to Jerusalem for a couple of days, and then, after having spent an intense afternoon at the shores of the Dead Sea, went by car to a resort some miles north of Tel Aviv to spend two more days at the sea.

I brought my a7 and my nex5, and the following lenses: (All Canon FD) 15mm 1:2.8 s.s.c., 17mm 1:4 (new), 24mm 1:1.4 L, 24mm 1:2.8 s.s.c., 35mm 1:2 s.s.c., 50mm 1:1.4 s.s.c., 85mm 1:1.8 s.s.c., 135mm 1:2.5 s.s.c. and a Canon 75-200mm 1:4.5 (new).

Anyway, I found myself using predominantly the 35mm 1:2, the 24mm 1:2.8, the 85mm 1:1.8 and the 75-200mm Zoom lens, since my wife favores it.
All of them produce a nice bokeh, in my opinion, especially the 35mm and the 85mm.

Due to the manual operation of the lenses the exif data lack the aperture value, but for most of the pictures I remember it, more or less.

Some words about the shooting experience with the a7:

Mostly I used the camera in time automatic or, especially in low light environments, in auto iso mode. Even if I agree with the critics who condemn the A7s preselection of 1/60th of a second in auto iso in contrast to an adjustable value, I still found this function very usable. A bit eery, when you come from analog school.
Being also used to spot light metering (Canon F1) I nonetheless found the integral measure mode more practical on the A7, for a number of reasons: first, the process of manual focusing can be quite demanding here! Depending on focal length, f-stop and distance from the object the DOF is only an inch or even less, so, it becomes very tricky, if you have an unpredictably and fast-moving object, like a toddler…
Then, unfortunately, memorizing a given value cannot be done with the half press of the shutter release button, like with the NEX-5, for example. That slows me down considerably when using spot measurement. (Hello Sony, fix this in a firmware update!). So I use the integral measurement, and due to the ample contrast capacity of the A7 of more than 10 f-stops there is a reassuring margin of exposure adjustment in post processing available.

Otherwise, taking pictures with the a7 is as easy as green tea, it is quite close to the shooting experience from analog times, thus made me feel at home immediately. And, I love the decided shutter sound!

The EVF is a marvel and didn’t make me want for the optical one, exept… one or two times, when extreme sunlight came in from the back, like on some occasions at the dead sea; but here a more ample eyecup would certainly help.

Some words about the post-processing:

I use Lightroom 5.4. I love the possibility to play around with colour, contrast, exposure etc.
Often I find myself using some Fuji-colour presets (sorry, Steve!) found on the internet which I then modify to my needs.
As for lens correction I underwent the tedious task to calibrate all my lenses using Adobe Lens Calibrator, only to find out that I cannot integrate the resulting files into Lightroom 5.4 in a way that they are available for lens correction there – in LR 3 this had worked! (If anybody has a useful tip here, please don’t hesitate to let me know!)
So I used the correspondent Canon EF presets instead, and they seem to fit nicely (not done much work since FD times, eh, Canon?). Anyway, I found CA, vignetting and lens distortion not to be a problem anyway, using these old lenses with the A7. Even with the 15$ adapter that I use.

Now, the pictures in chronological order of our journey:

 

Haifa, Carmel beach.
Canon FD 35mm 1:2 s.s.c. @ 11, ISO 200, 1/250s

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 Acco near Haifa.

Canon FD 75-200mm @200mm 1:4,5 (new) @ 8, ISO 800, 1/750s

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 Acco near Haifa

Canon FD 17mm 1:4 @5.6, ISO 800, 1/200s

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 Acco near Haifa.

Canon FD 75-200 @75mm 1:4,5 @ 8, ISO 1600, 1/160s

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 Bazaar in Acco near Haifa.

Canon FD 35mm 1:2, s.s.c. @ 4, ISO 1600, 1/500s

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 Jerusalem Bus Terminal.

Canon FD 35mm 1:2, s.s.c. @ 5.6, ISO 1600, 1/200s

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Jerusalem Breakfast, tomato sauce!
Canon FD 35mm 1:2, s.s.c. @ 5.6, ISO 1600, 1/500s

_DSC1453

Jerusalem, Old City
Canon FD 35mm 1:2, s.s.c. @ 5.6, ISO 250, 1/60s

_DSC1495

 Jerusalem, Old City

Canon FD 35mm 1:2, s.s.c. @ 8, ISO 400, 1/60s

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 Jerusalem, at the wall of Old City

Canon FD 35mm 1:2, s.s.c. @ 2, ISO 250, 1/60s

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 Jerusalem, Dinner

Canon FD 35mm 1:2, s.s.c. @ 3.5, ISO 4000, 1/60s

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 Jerusalem, after dinner.

Canon FD 35mm 1:2, s.s.c. @ 3.5, ISO 4000, 1/60s

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 Jerusalem, breakfast situation

Canon FD 35mm 1:2, s.s.c. @ 8, ISO 160, 1/60s

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 Jerusalem, Old City

Canon FD 35mm 1:2, s.s.c. @ 4, ISO 400, 1/60s

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 Dead Sea, Mineral Beach

Canon FD 24mm 1:2.8, s.s.c. @ 8, ISO 100, 1/125s, polarization filter

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 Dead Sea, Mineral Beach

Canon FD 24mm 1:2.8, s.s.c. @ 11, ISO 100, 1/200s, polarization filter

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 Dead Sea, Mineral Beach

Canon FD 24mm 1:2.8, s.s.c. @ 16, ISO 100, 1/45s, polarization filter

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 Dead Sea, Mineral Beach, Ella in arabian tea tent

Canon FD 24mm 1:2.8, s.s.c. @ 4, ISO 100, 1/250s, polarization filter

_DSC1607

Dead Sea, Mineral Beach
Canon FD 135mm 1:2.5, s.s.c. @ 8, ISO 100, 1/200s

_DSC1625

 Tel Aviv

Canon FD 85mm 1:1.8, s.s.c. @ 4, ISO 200, 1/1000s

_DSC1669

 Tel Aviv

Canon FD 85mm 1:1.8, s.s.c. @ 5.6, ISO 200, 1/4000s

_DSC1673

 Tel Aviv

Canon FD 85mm 1:1.8, s.s.c. @ 4, ISO 200, 1/6000s

_DSC1679

 Tel Aviv

Canon FD 85mm 1:1.8, s.s.c. @ 5.6, ISO 800, 1/60s

_DSC1696

Final word:

So, I hope you enjoyed the reading. I enjoyed the writing!

As a last word on this trip: I liked very much the warmness and friendliness I met in many people in Israel. The people coming from all parts of the world, I found the predominant international spirit very refreshing. Just religious fanaticism gives me the creeps.
If you feel like, I’d be delighted to have some feedback on these pictures!

My professional website (non-photographic): http://www.loesungsseite.de

Apr 162014
 

Photography, Education, Exams

by Tim Hogendoorn

Documentary photography; one of those magical things in live I love.

My name is Tim Hogendoorn, 23 years old and living in Rotterdam, The Netherlands.
From the year 2010 I have been studying photography in Rotterdam and this year in May, is my graduation.

From the beginning of my study I saw students following the same routine of photography as there has been for years on my school, and many other photography academies: studio portraits.
It is not in a way I felt the urge to be different, but I found myself not being able to express my feelings in that way.

I started experimenting with street photography but quickly wanted to tell stories with my photographs, searching for people who had extraordinarily jobs and telling their stories.

That is also what I did for my exam of my current photography education.
I stayed at a circus family for about a week. Taking photos of the shows, but especially when they were not working or preparing for work.

After being in this study for four years now, and photographing three of those years solely on film, this was my first digital series.
I gave digital a try a couple of times before, but not really feeling it untill now: I bought a really nice second hand 5d mark ii and am using my analog Nikon lenses on that body with just an adapter ring.
The look of the old Nikon Nikkor 35mm 2.0 AI on the 5d sensor is lovely…

The full series can be seen on my website. (like me on facebook and keep up to date with my work: http://tiny.cc/ng9eex )

I wanted to share my experience with the readers of stevehuffphoto because I am a daily reader myself, keep it up Brandon and Steve!
(recently I went on a photography trip to Chicago (my first time in the US: WOAW!), and I would love to be sharing that new series in the near future as well!)

All the best,

Tim Hogendoorn
www.timhogendoorn.nl

Barani_5453 Barani_5601 Barani_series_11_5384

Apr 072014
 

Seven years with one camera

By Amirali Joorabchi

Hi steve , hi everybody!

I’m AmirAli , a reader of this awesome blog for about two years. I’m 23 , live in Tehran. I do painting and photography as an enthusiast. I started photography when I was 14-15. As a gift my family bought me a Canon 400D and a 50 f1.8 and if I’m right I have this set and been using it for about 7 years ! Well it’s 10mps , ISO800 isn’t clean , ISO1600is only usability in monochrome , the LCD is 2.5″(240k). The camera and two lenses weighs in at about 850g…and yes I’m still using it !

This lest seven years that has passed by..well, photography has changed a lot (which you all know better than me). The wave in digital photography started with Canon 350D (affordable DSLR for everyone) then led to this following seven years. Companies got competitive with each other , introducing new models like a mad man ( canon 40D/50D… Nikon D80/D90… Canon 5D/5DmarkII Nikon D700/D800/D610 Sony A900/A800/A99 , then mirrorless Olympus , Panasonic , Sony , Fuji…).

The more technology went further , the more prices came down , which now you have so many affordable options (heck you can buy a full frame for 1600$ which weighs less than 500g). In theory this should help people but , instead , it turned out to be a huge problem for us!

For example it became like an idea that “because a pro photographer has that camera/lens then he can take pictures that I can’t”. So I started to blame the gear and I thought if I had better camera I would have made a better photographs. This is the point when your endless loop starts (even if you are aware of the fact that getting new gear won’t make you any better), where you buy new cameras when the one you have is already very qualified. Jumping from one system to another or jump from one brand to other. You fall into this endless loop where you waste time and sources on the wrong side of the photography.

I was about to fall , but a wise photographer told me this: “Changing your gear won’t change your view , it only replaces the last window with a new window to the same view , you’re the one who should change the view “ It hit me really hard. I still didn’t know about composition , lightening , color management… My VISION was weak yet I blamed the camera that I still have. He showed me that how much VISION is more important than gear , that your vision can create beauty , you have to train it to get the most out of it. Although the truth was clear but still resisting the new gears was hard. I get another advise : “loan and play with the new ones , the hype will come off of your mind”. I took the advice and it worked most of the time.

I tested Canon 40D , Nikon D90 , Canon 1DsII , Canon 5DII , Sony A900 with zeiss 85F1.4 (this lens didn’t came off ever) , Canon 17-55F2.8 , 24-70F2.8 , 14F2.8 , Nikon 80-200F2.8 , 18-135… . All of them are far better than my set , but using them I realized that my results weren’t that different… if not worse ! The brand was different , the format was different , the lens different , but my vision was the same. Yes , new gear makes it easier to take photos like more pixels , better ISO , better OVF/EVF… . These things are not necessary to capture a master piece. These are tools to help us create. But the features has spoiled lots of photographers’ minds. A slight change in light/composition can make a mediocre photo into a master piece , yet we waste our time wondering about gear…

Well , the question is , which is worth to you more ?

1.Having G.A.S and taking mediocre images , or

2.Mastering your vision and taking eternal images

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Mar 242014
 

faces

The faces of Mysore India

by Neil Gandhi

Hey Steve,

Often times, images do not do justice to true experiences.

With photography, one must diligently spend time and live within the realm of their subject to establish the reason that makes them “click”. In that recognition, one discovers a sense of realization that is sometimes larger than life itself. Walking around a bustling Devaraja Market filled with beings just like me, I realized how different I was from them. Most of them had never left the city of Mysore in South India. Most of them probably never will. Initially, I felt a sense of sadness. Then I asked myself “Why would they?”. There is so much beauty that encapsulates them.

These images were captured during my trip in December 2013, where I visited one of my favorite photographers named Christine Hewitt to immerse myself in photography and learn from her experience. Mysore, birthplace of Ashtanga Yoga, draws yogis from all over the world who come to this city to grow their practice. It is a city of royal heritage, with an existing royal family and king, and features a beautiful palace, art galleries and some truly exquisite temples surrounding the city. Most importantly, it is the people who define this city and bring it to life. The joy and love in their faces, especially the children is heart-warming to experience. Street photography comes to life here, as you witness some interesting and extremely willing subjects. They live life with a quiet sense of confidence and content. They breathe because they choose to. These are their stories.

Gear: All images taken with a 5D MIII and a 50mm f1.4 or a 24-70 f4.0L. Post-processing in Lightroom 5.

About me: I am Neil Gandhi, an amateur photographer who pays for his camera gear and travel with a job in software marketing. Based out of Austin, TX. Connect with me on Instagram at: http://instagram.com/neiljpgandhi

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Feb 212014
 

Myanmar Traditional Boxing

By Nikko Karki  – www.nikkokarki.com – – http://blog.nikkokarki.com

 

Fighting once a month with nothing but wraps covering their hands, young Burmese men continue their country’s traditional sport, perhaps one of the most brutal in the world. In the olden days, there were no rounds, no points, the only way to win was by a total knockout or concession by the opponent. The men I met had no sort of ego or bravado. Their quiet disposition and positive outlook on training, fighting and life, is unlike a traditional mindset.

Training with broken hands or other seemingly debilitating injuries is not dismissed with any sense of martyrdom, but sincere dedication and selflessness. It was a privilege to witness their humble approach to life, living happily and compassionately as they dedicate themselves to their training.

 Canon 5D mk III – Carl Zeiss ZE 35mm f/1.4 Distagon – Carl Zeiss ZE 100mm f/2.0 Makro planar

Photographer’s note:

I made this film in a day and a half, after spending about a week training and getting to know the fighters. It was truly an honor and privilege to get to know them and I greatly look forward to returning to learn more about Lethwei, Myanmar traditional boxing.

First, a couple of pics of me training with the guys:

NIKKO AND THE GUYS

NIKKO TRAINING

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Nikko Karki © 2013 Lethwei 1

Nikko Karki © 2013 Lethwei 2

Nikko Karki © 2013 Lethwei 3

Nikko Karki © 2013 Lethwei 4

Nikko Karki © 2013 Lethwei 5

Nikko Karki © 2013 Lethwei 6

Nikko Karki © 2013 Lethwei 7

Nikko Karki © 2013 Lethwei 8

Nikko Karki © 2013 Lethwei 10

Nikko Karki © 2013 Lethwei 11

Nikko Karki © 2013 Lethwei 12

Nikko Karki © 2013 Lethwei 13

Nikko Karki © 2013 Lethwei 14

Nikko Karki © 2013 Lethwei 15

Nikko Karki © 2013 Lethwei 16

Nikko Karki © 2013 Lethwei 17

Nikko Karki © 2013 Lethwei 18

Nikko Karki © 2013 Lethwei 19

Nikko Karki © 2013 Lethwei 20

Feb 202014
 

Greetings from West Africa

By Devesh Uba

Dear Brandon and Steve,

Let me begin by congratulating you guys for the wonderful website and the always inspiring resources/articles you have there. My favourite sections are ‘daily inspiration’ and off course the reviews. Keep up the great work!

I am Devesh Uba, an Indian national currently living and working in Lagos (Nigeria), from past eight months or so. I have been doing photography over a decade now and I love people and street photography. I happen to do more colour than Black and White, but I do enjoy Black and White a lot and there are phases when I only do Black and White.

Here in Nigeria I am fascinated with the colours, smiles and the culture of this country. I am trying to capture it and share it with the world through my blog and Flickr, and I will be really happy if they are selected in the ‘daily inspiration’ section of your website. I use a basic DSLR Canon 550 D with a Canon 35mm F2 (prime) mostly for streets. Here in Nigeria it isn’t safe to walk on streets with your camera (especially for an expat), so sometimes I take pictures from my car when in hostile areas.

Links to my work are:

Flickr : www.flickr.com/photos/deveshuba

Nigerian Photoblog : snapitoga.tumblr.com

Thank you.

Regards from West Africa,

Devesh Uba

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Feb 032014
 

A7R with Canon 17mm TS-E tilt/shift

My/the dream team for architecture:

Sony A7R with Canon 17mm/4 TS-E

By Dierk Topp

First I would like to mention, that I am not a Pro, I take pictures for my own pleasure and sometimes for others.

I bought the Canon 17mm TS-E for use with the ordered Leica M240, but when I got the M240, I sent it back after 2 days. The main reason (besides many others) was, that the focus field in life view was fixed in the center. Using tilt lenses with a focus only in the center of the frame is useless, and for shooting a portrait session, when you want the focus on the eyes is useless with a focus control in the center of the image, and shooting stills from a tripod with a fixed focus field in the center is useless as well.

I ended having no FF body for this lens! So I tried to use the 17mm TS-E with my Leica M9 and the MM and it was no problem. I used the 18mm finder for a rough composition and very often had to do only one or two test shots (no live view!) till I got, what I wanted (you will find two images from the M9 at the bottom).

When then the A7R arrived in October 2013, I discovered a big problem: my Metabones adapter Ver.1 was unusable, it is blocking the edges and the vignetting made it unusable. But I found the info, that the new Metabones Mk. III supports FF and I was very happy, when I got it a few days later and it worked perfect.

Why using a tilt/shift lens?

If you know about tilt/shift lenses, there is not too much to say about shooting this combination.

If not, here is an excellent post on shooting architecture with shift lenses:

Let me quote a few sentences, I hope you don’t mind James?

  • Point your camera up at a tall building. See how the lines of the building converge to the top of the frame? That’s an extreme case of perspective distortion. For a shot like that, sometimes it looks cool. But back up a good bit, zoom out, and try to shoot the entire building. More times than not, you’ll notice the verticals are not perfectly straight. It’s extremely difficult to get it right handholding the camera and trying to guess. That’s because in order to have no perspective distortion, you have to have the capture plane, be it film or digital sensor, parallel and plum with the building.
  • There is a lot of misunderstanding about tilt/shift lenses. Basically, it’s a lens that projects an image circle much larger than the frame it intends to cover. Then, it is allowed to be moved independently of the camera body to anywhere within the projected image circle.

If you are interested in the tilt function of this lens, you find an excellent description here at the site from Keith Cooper:

http://www.northlight-images.co.uk/article_pages/using_tilt.html

Now let the images speak for themselves.

  • images made with f/8 and tripod
  • as the camera is on a tripod, I very often just shoot additional shifted images and have more freedom during PP for stitching
  • very often prefer a different aspect ratio than what I get out of the camera and stitch images by shooting two or three frames with different shifted lens. And very often I shift the lens more than recommended and decide later, if I have to cut the outer (blurred) part of the image. With stitched images there is plenty of resolution for that. But you have to plan that during shooting.
  • if I want to get a wider angle of view and shift up (or down), I use two images with the lens shifted left and right up by 30° or 60°
  • if you have a close foreground and/or have to avoid parallax error with slightly differing images from moving the front lens by the shifting, you can use the special “Canon TSE Tripod Collar” from Hartblei: http://www.hartblei.de/en/canon-tse-collar.htm, this collar is mounted on the front part of the lens and keeps it in exactly the same position, while the rear part of the lens including the camera is being moved for shifting.
  • my post processing: LR 5.3, B&W conversion with Nik Silver Efex PRO2, stitching with PTGui or MS ICE (free for Windows)

The A7R or ILCE-7R with the Cannon 17mm/4 TS-E on Metabones smart adapter III

(I took the pictures with the NEX-6 and Micro Nikkor 85mm/2.8 PC, also a tilt/shift lens, on a Metabone adapter, tilted for more DOF)

the lens on this picture is shifted up for about 9mm, as you can see on the scale on the lens in the middle of it.

The front part of the lens for tilting is not tilted, you can see it on the second picture below.

The Metabones MK III adapter supports the electronic diaphragm and correct EXIF, this lens is manual focus (as all shift lenses) and I could not test the AF support of the adapter.

A7R with Canon 17mm TS-E tilt/shift

A7R with Canon 17mm TS-E tilt/shift

and here are some images made with this fantastic combination:

One shot shift up

A7R with Canon 17mm TS-E tilt/shift

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This one stitched of two shifted images (shift left and right), no HDR, 11.000×5.000 pixel

A7R with Canon 17mm TS-E tilt/shift, stitch of 2 shifted images

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This is a 1:1 crop of this picture

A7R with Canon 17mm TS-E tilt/shift

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Gut Trenthorst

again from two stitched images, but this time the shift was 30° up to the left and right, to get the view upwards

Gut Trenhorst, A7R with Canon 17mm TS-E, stitch of two shifted

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from two shifted images (no HDR, the sensor has no problem with this high contrast!)

Gut Trenhorst, A7R with Canon 17mm TS-E, stitch of two shifted

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Now some pure architecture shots

 This is just a standard shot, lens shifted up

A7R with Canon 17mm TS-E tilt/shift

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HavenCity, Hamburg

Shifted full 12mm up, recommended is 8 to 10mm on the long side, the top of the building is getting blurred!

HafenCity Hamburg

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If the camera is perfectly aligned, buildings tend to look strange, as if the top is getting bigger,

just a bit perspective distortion could look more natural.

HafenCity Hamburg

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Bad Oldeloe, Germany

stitch of two images, shifted down and up

A7R with Canon 17mm TS-E, stitch of shifted images

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Three images, shifted left, center and right

image size 12.000×5.000 pixel

A7R with Canon 17mm TS-E, stitch of shifted images

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… the same, three stitched images

A7R with Canon 17mm TS-E, stitch of shifted images

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and Hamburg, Speicherstadt

Three images shifted, 11.000×5.000 pixel

Speicherstadt Hamburg

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…and two images, shifted up 30° left and right, 9.200×5.000 pixel

Speicherstadt Hamburg

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Last but not least:

You can even use this lens on a range finder. Here are two images made with the Leica M9 with a cheap adapter. I used the 18mm finder on the M9 for rough composition and one or two shots, till I got it right. The M9 has no live view for controlling the image before the shot! And for the electronic aperture you need a trick with an extra Canon body.

 The Marienkirche, Lübeck, Germany

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This is a special combination of shifted lens up on the M9 and rotating the camera on the tripod for much more than 120° view. I shot many very much overlapping images to make sure, that it will work for stitching – and I think it worked :-)

Leica M9 with Canon 17mm TS-E tilt/shift

Thanks for your interest and I hope, you find it informative and useful … and sorry for my English :-)

More images are on my flikr:

Canon 17mm TS-E tilt/shift (including A7R) and the Sony A7R images

thanks and kind regards

dierk

Jan 222014
 

2013 in just twelve images on different formats 

by Bjarke Ahlstrand

Last year I did a – one year – 2012: 12 months, 12 images, 12 cameras / lenses in total guest report for Steve. It was tough to make, it’s really hard to narrow down a big production to just one image per month, but very rewarding as well.

So I decided to do the same this time around. Those familiar with my work, either here at Steve’s site or my own www.oneofmany.dk will notice that I’ve been drifting slightly towards film and large format recently. The slow process has been healthy for me mentally and photographically speaking. I shoot less images, but work harder for each one, and it’s a thrill to learn new skills — especially ones that aren’t linked to Photoshop.

2013 was a good year for me in many ways, and also challenging. Sometimes I feel I’m balancing between being creative and obsessed, both when it comes to shooting portraits as well as using new cameras and lenses, hehehe. I still treasure my Leica M9-P more than anything else, but the artistic freedom (and limits) the large format view cameras give are very inspiring. Nowadays, whenever I grab a digital camera, I miss the selective focus / shallow depth of field while shooting large format extremely open, but also the tonality and amount of detail that I get from even 100-year-old non-coated lenses. An 8×10″ is approximately 60 times digital full frame, and a Swiss built large format Sinar camera, be it 60 years or 6 years old, is at east 60 times more fun to operate than a modern Canon/Nikon.

Well, here are 12 images, one for each month, all shot on different cameras, formats and lenses.

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FILE: 1 – January – 8×10 – silver shade polaroid

Miss Roxy – Arca Swiss 8×10″ – 305 mm Kodak Portrait Lens (ca. 1930) @ f/4.5 – Silver Shade Polaroid

1 - january - 8x10 - silver shade polaroid

The Impossible Project revived the 8×10″ Polaroid, when they purchased the last production machine from the bankrupt Polaroid plant in Mass, USA, and had it moved to their European headquarters in Holland. The Silver Shade Polaroid, the only one being made in the 8×10″ large format size, isn’t exactly black and white, but still nice to work with, as long as you can live with chemical defects, and manage to get your hands on an antique Polaroid processor which is need to pair the 8×10″ negative with the positive (large format doesn’t work like the old peel-apart Polaroid cameras and film!). Miss Roxy, my assistant posed for this image, which was shot with quite a few tilt and shifts on a 1970s Arca Swiss camera, and the lens mounted on the camera is a wonderful, wonderful 1930s soft focus Kodak Portrait Lens.

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FILE: 2 – February – Hasselblad h3d

Zombieboy – Hasselblad H3D-39 – 150 mm Fujinon HC @ f/5.6

2 - february - hasselblad h3d

When it comes to sharpness, tonality, color and file quality, no digital camera beats the 39 megapixels Hasselblad medium format monster. And yes, I’ve shot the Nikon D800, but it doesn’t even come closer, and neither do the lenses. The Hassy is slow and heavy and really suffers if you go past ISO200, but if you treat it like a film camera, it works excellent, and the resolution it offers is utterly amazing even though it’s a few years old now.

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 FILE: 3 – march – 4×5 – sinar polaroid

Anker – Sinar P2 4×5″ – 240 mm unknown 1860s Petzval lens @ f/3.8 – Expired Fuji Polaroid

3 - march - 4x5 - sinar polaroid

I love the fast lenses! Everyone who’s ever shot a manual f/1 lens, like the Noctilux, Nokton or Sonnetar, knows how difficult it is to achieve a somewhat precise focus. But when you move to the large format, in this case, the 4×5″ film format, things get waaaaay more difficult control — and if your lenses were made in 1860 instead of 1960, you add to the difficulty aspects, but the reward is equally bigger, if you nail it. And even though the output material is an old expired Fuji Polaroid, the depth of field and detail is amazing. It was shot a night-time, using only my Ikea table lamp as the light source — and two small light candles which I place behind him.

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FILE: 4 – april – 5×7 – kodak 2b wetplate collodion berlin

Alex – Kodak 2B 5×7″ – 150 mm Rapid Rectilinear @ f/8 (ca 1890) – wetplate collodion

4 - april - 5x7 - kodak 2b wetplate collodion berlin

Mmmmmhhhh, the smell of ether :-) When I had a chance to join a wetplate collodion seminar in Berlin, held by American David Puntel, I simply had to attend. What a fine (and difficult) process. I’m sure most of you have heard or read about it elsewhere, so I won’t go into the tech/chemical aspects, but just recommend everyone into photography to try the 1850-1851 photography process, which is very rewarding. It sharpens your senses, and you really consider, plan and compose your image, before pressing the shut… ehh, correct that, you don’t use a shutter for this, because the old lenses have none, and you need a lot of (day)light. You just remove the darkslide, take off the lens cap, and let the subject, in this case animation director, Alex Brüel Flagstad, sit absolutely still for 14 seconds. This was a so-called half-plate which is a tiny bit smaller than 4×5″. Notice the silver nitrate on my fingers. It took months before it disappeared.

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FILE: 5 – may – Leica m9-p 35 summicron

Assistant+Artist shot by oldest clone – Leica M9-P – 35 mm Summicron @f/2 (1st version, anno 1964)

5 - may - Leica m9-p 35 summicron

A rare shot of me in action. I am placed one the right with the dark cloth on my head, while planning a 4×5″ Ektachrome dias portrait shoot. My oldest son, Hjalte, shot this behind the scenes photo with the Leica M9-P and an old 35 mm Summicron that I’d just purchased from conflict photographer Jan Grarup, whom I guess is the only real documentary/war professional who actually shoot with Leica for a living. Jan exchanged his old glass in favor for the new Voigtländers, so I got his old 35 mm Summicron. The first version of the classic lens really shines on the M9-P, which is still my all-time favourite digital camera, due to portability and quality (as long as you don’t enter the 640+ iso’s, hehe) and not least lenses, lenses, lenses.

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FILE: 6 – june – leica m typ240 apo-summicron

Katja naturelle – Leica M Typ240 – 50 mm Apo-Summicron Asph @ f/2

6 - june - leica m typ240 apo-summicron

I don’t have a Typ240, I just borrowed one along with the new 50 mm Apo-Summicron Asph for a day. With my love of cameras, I have of course considered the Typ240 many times, but every time I hold one, it just doesn’t feel like my kind of camera. Can’t exactly say why, and I know it beats my older M9-P technically speaking, I just think the CCD sensor of the old Leica renders better/differently (at lower ISOs). The new 50 mm Apo-Summicron, on the other hand, whauuuuh, that one would be a nice addition to my collection of Leica 50’s (Noctilux Asph, Summilux Asph, Sonnetar, Jupiter-3, Summitar, Summar), but the price tag… well, I guess I’d rather buy 10 antique Petzval lenses for my large format cameras… Or a Monochorme. But it sure is nice, resolution wise almost matching the medium format Schneider Kreuznach, Rodenstock and Fujinon HC lenses, just so much smaller. This image is straight out of camera, no adjustments, and wide open @ f/2.

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FILE: 7 – july – 8×10 – Dallmeyer 2A Petzval f4 – Fuji Velvia 50

Katja Nun – Sinar P2 8×10″ – 300 mm Dallmeyer Petzval 2B (ca 1870) @ f/3.8- Fuji Velvia 50

7 - july - 8x10 - Dallmeyer 2A Petzval f4 - Fuji Velvia 50

Same subject as before, my girlfriend Katja, only this time around she was shot on a 140 year old Dallmeyer Petzval lens. The Petzval lenses are famous for their swirliness around the edge and utter sharpness in the center. They’re extremely fast (f/3.8 – f/4 on large format is like f/1 on kleinbild 35 mm in-depth of field terms, and if you tilt-shift the camera it’s even more extreme). I shot this on an old, expired 8×10″ Velvio 50ISO dias in the very last evening light, and she had to sit still for half a second. With the light passing and time it takes to re-focus, load the film holder (which only holds two images, one on each side), removing the darkslide and wait for the camera to stand still, you only have one chance, so you often miss a shot. Especially sharpness wise as the depth of field is extremely small. But not this time around. Of course what you see here is a low resolution file, but the original 8×10″ positive – and scanned file amazes me. If only 8×10″ dias weren’t so tough to come by (and expensive) this would be my preferred medium. But hopefully you get a glimpse of the sharpness and bokeh this old lens produces…

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FILE: 8 – may – 4×5 – Linhof 135 mm

Viking Viggo – Linhof Technika IV 4×5″ – 135 mm Symmar @ f/5.6 – Ilford Delta 100

Picture 211

Now and then it’s nice to go offline. Away from mails, text messages, facebook, hell — even stevehuff.com! Especially if you have kids who are always online, and addicted to it. So this summer, my clones (ages 14 and 9) and I spent one weekend as vikings at a historic “reservation”. The offspring agreed to leave every electronic device at home, as long as I did the same. So I bought my Linhof Technika IV and 5 filmholders, so I would be able to shoot maximum 10 images through out a whole week. It turned out to be somewhat of a challenge, as there were many nice photo opportunities and, for once, I had a lot of time on my hands. But I guess the slow-photography-dogma was therapeutic to me, and when I got home and developed the ten sheets of film, I was thrilled that 7 out of 10 turned out very well. This one is my favorite. I was chopping wood but discovered that Viggo was playing with a kitten behind a tent, so I located the Linhof, guessed the light (1/8th of a second at f/5.6 on a Ilford Delta 100 sheet film), called his name and pressed the shutter. I adore the old school documentary-ish vibe it has to it. This is film when it’s best, and I couldn’t have done something with this tonality had it been a digital camera. Playing viking for a whole week, I sure missed my Leica, but the large format “portable” Linhof proved to be a worthy companion (it was my first time using the German 1960s mechanical metal marvel — the Leica of large format! It’s extremely well-built, like a Leica).

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FILE: 9 – september – leica monochrome 50 mm sonnetar f1

Mrs Madsen On The Roof – Leica Monochrome – 50 mm MS-Optical Sonnetar @ f/1.1

9 - september - leica monochrome 50 mm sonnetar f1

I adore the Monochrome, and I wish I owned one. Every time I borrow one, I love and loathe it at the same time. It’s so extravagantly priced and immensely simple, but it just works — especially with old lenses. Or old lens designs, as is the case with this crazy handmade Japanese lens, the Sonnetar, based on the Sonnar design, but taken to extremes; both size wise and in aperture terms. Wide open its f/1.1, a little hard to handle, but produces dreamy images with out of this world background bokeh (it’s after all made in Japan). I don’t think Steve has had a review or guest report with images taken with this lens, which I bought directly from Japan earlier this year, but if there’s a demand for it, I might do a small review and supply some samples (it handles color images very well as well). It’s very cheap compared to the Noctilux, and performs way, way, way better than the horrible Cosina (Voigtländer) Nokton f/1.1.

FILE: 10 – october – 8×10 – direct_positive_paper

Afghan Princess – Sinar P2 5×7″ – 360 mm Voigtländer Heliar (ca anno 1903) @ f/4.5 – Ilford Direct Positive Paper

10 - october - 5x7 - direct_positive_paper 

I often shoot paper negatives on large format. It’s a cheap way of testing new lenses (paper is way cheaper than negatives), but you always have to either make contact prints in the dark room or scan it and invert it Photoshop. Enter the very nice Ilford Direct Positive Paper, which is sort of a mixture of classic photo paper and polaroid. You shoot it in your 4×5″, 5×7″ or 8×10″ film holder, and when you develop it (in paper chemicals – and under red light) it transforms from a negative to a positive. A bit like wet plate collodion, except this is far easier and less dangerous, chemically speaking. So I’d recommend this to everyone shooting large format, as it’s very pleasing to see the result directly after you’ve shot your image. In this case I did a portrait of an Afghan (refugee) princess with a fantastic 110 year old 36 cm / 360 mm Voigtländer Heliar portrait lens, which even survived a fire some ten years ago and has cement between the elements! Those old Voigtländer lensus unlike the new Cosina-branded ones for Leicas and micro 4/3s are very well made, and perform excellently, even one hundred years are they were made. The Direct Posistive Paper is rated somewhere in between ISO1 and ISO3 and is most suited for pinhole cameras, as it’s very contrasty, but I think it’s nice for portraits as well, as long as you learn to balance your light a bit. For this I used a flash, or was it three ProFoto generators :-?

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FILE: 11 – november – 1913 goecker studio wood camera expired 809 polaroid

Jesper – Goecker Wooden Studio Camera (1913) 8×10″ – Dallmeyer 3B 300 mm Portrait Lens @ f/4 – Expired (1995) 809 Polaroid

11 - november - 1913 goecker studio wood camera expired 809 polaroid

I buy a lot of old gear, and I always appreciate spending time with the old time pros or collectors from whom I get my gear. In this case, I bought some old Linhof cameras (4×5″ and 5×7″) from an old master about to retire. He had been a pro for 45 years (!), and never went digital. In his hay days he developed 2000 5×7″ prints every day! Both color and b&w. He also had an old (dating back to 1913) wooden studio camera in his studio and I immediately fell in love with the old beauty. A 100 year old camera, which still works like a dream. It was equipped with a gigantic Petzval-design portrait lens, the Dallmeyer 3B. Neither camera nor lens had any shutter, which – unless you shoot wetplate or paper negatives – actually can be somewhat of a problem due to the (short) exposure times. But fortunately the old pro found a box of old 8×10″ 809 Polaroid’s, a film I’d never shot before, which expired back in 1995. He doubted I could get anything out of the remaining 4 polaroid’s in the box, but I did. This image was shot only with the light from my living room lamp, using my HAND as a shutter for approximately one second. I absolutely love the final result – what you see here is a plain scan of the image I shot. Notice the text lines next to his face – they come from the “negative condom” or protection sheet that the polaroid’s were wrapped in. Somehow, during the 18 since (since expiration date) some of the text managed to creep unto the negative. Pure light magic.

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FILE: 12 – december – canon 5d mark iii

Teen Clone – Canon EOS 5D Mark II – Canon 24-50 mm II @ f/4

12 - december - canon 5d mark iii 

My oldest clone never wants to be photographed because he’s 1) a teenager 2) thinks his father is embarrassing 3) doesn’t like cameras or photography 4) has braces and pimples all over his face — BUT — he also needed to give his mother, my ex-wife, something for x-mas, so he bought a frame, and asked if I would do a portrait. I did two, actually, an 8×10″ analogue, but then I snapped a test shot with my Canon, and it turned out best. Yes, that’s right. I do digital light metering tests before using precious sheet film / polaroids! I practically never use the Canon camera, as it’s big and has no personality and uses auto focus zoom lenses, hahaha. Well, snobbing aside, its video capabilities talk for them selves, but it is of course the 5D Mark III is a very capable professional tool, very rarely failing in any way. But I still prefer an old Leica, Linhof or an old wooden studio camera :-)

I guess that concludes my 2013 in just twelve images on different formats, cameras and lenses.

Perhaps I should mention, that I’m in the process of my building my own 20×24″ ultra large format camera, so perhaps you’ll see an image from that alongside a Minox next year, hehe.

Best,

Bjarke

www.oneofmany.dk

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