Nov 182015

What camera (if any) is on YOUR Wish List? Tell me!

With all of these hot new cameras out in 2015, for many it has been tough deciding on what to get or go with. I receive e-mails daily asking “what should I get”? and I can never really answer those!

Unfortunately only YOU can answer that as a camera is a very personal thing. I always say “go with what feels right for you”….”the one that speaks to you the most”. This is a great way to pick because usually there is one camera that pulls you in more than another when trying to decide. So do you go with your heart or brain? Go with the technically best specs or the body and lenses that really pull at your heart-strings?


I always say GO WITH YOUR HEART. These days, all cameras that are released for our market, the enthusiast, hobbyist and even pro, are all fantastic. They vary in size, shape, speed and performance but all are GREAT. The reason Leica stays in business is because most Leica users buy with their HEART and pay more money for the name, the history and the prestige of Leica. It also doesn’t hurt that their cameras they are releasing now are some of their best ever in their digital history. The Leica Q, the Leica SL, the M… all wonderful and while more expensive than other cameras, they are all built and made to a higher level than their competitors (especially the SL and M).

So buying with your HEART instead of worrying about tech specs will make for a more enjoyable shooting experience. It is important to truly love the cameras you shoot with because if you do not, it will never leave the house. So it is always good to go with a camera body that you truly love.

Leica speaks to many passionate photographers.

Then we have Sony who is breaking new ground and paving the way for new tech and performance hikes  – leading the way actually with the largest market share in the mirrorless market. Say what you will about Sony but they are innovating and releasing top-notch cameras like the A7II, A7sII and the masterpiece A7RII. While their bodies can not compete with the Leica SL or real “Pro” level bodies, I am sure something will come from Sony in the form of a true pro body…eventually. The rumored A9 maybe ;) Who knows, I do not so it is just a guess but bettering the A7 or RX1 series is going to be tough for any camera manufacturer entering the mirrorless world. They do so much and do it so well.


Then we have Fuji with their X-T1 and X-T10 but I see them losing some ground as they do not offer anything but APS-C cameras, no full frame. Those who wanted to upgrade and move up, well, many went to Sony for the full frame sensors with superior DR, ISO and Resolution. Fuji is cool and still doing well, and MANY love them and the IQ from the X-Trans sensor. I am looking forward to what the X Pro 2 brings.

This brings us to Olympus and Panasonic who both offer high end Micro 4/3 bodies. The Olympus E-M1 is their pro body followed by the E-M5 II and E-M10 II. Then Panasonic has the G series and the new GX8 which is their best M 4/3 photo camera ever IMO. The lenses available for M 4/3 are beautiful and small and they pack a huge WOW for much less cash than others. The Micro 4/3 bodies have a smaller sensor but are usually faster and more responsive than the large full framers. They also suffer at high ISO because of the smaller sensor size (when compared to full frame).


Then we have Nikon and Canon and Sigma and Samsung who also are creating mirrorless cameras (though nothing to get uber excited about just yet).

The Holiday season is among us and many buy cameras for Christmas, either for themselves or for their loved ones. In fact, every year I get emails from wives asking me about a camera purchase for their Husband for Christmas.

A few snaps from the latest hot mirrorless cameras..must click them for better view and to see them correctly!

1st two, The Leica SL



Two From the new RX1R Mark II



One from the A7RII and 35 1.4 Sony/Zeiss Distagon


The Leica Q


Sony A7s – 12,800


So what cameras is on YOUR radar or wish list this year? ANYTHING? if you could have any camera made today, what is the one that tugs at YOUR heart and soul? Remember that all mirrorless reviews here are listed at “MIRRORLESS CENTRAL” here. Easy to find in case you want to refresh :)

Leave a comment below and let us all know what camera YOU want (IF ANY). Thanks!

Nov 062015
Venus 15mm


Laowa 15mm f/4 Wide-Angled 1:1 Macro Lens on the Sony A7RII

by Dierk Topp

Hi Brandon and Steve,

This is about a very special lens, the Laowa 15mm f/4 Wide-Angled 1:1 Macro from Venus Optics in Hefei/Anhui in CHINA.

To explain the specialty of this lens here is a quote of a short description from Venus Optics:

“The new Laowa 15mm f/4 1:1 Macro lens features an ultra wide angle of view of 110 degrees with 1:1 maximum magnification. Photographers can focus very close to the subject and let the foreground dominates in the photo but at the same time, have the background telling viewers about where and how the subject lives.”


” A shift mechanism is added at the rear end of the lens with a maximum adjustment of +/- 6mm, which is extremely useful for landscape/architecture photography for distortion correction.”

I love wide and super wide lenses and preordered it after it was announced. My lens has the serial # 761 :-)

The reasons for me:

I ordered the Sony E-mount version, Nikon and Canon mount is available too
the specs looked very interesting and the price for it even more
the main advantage of the lens is, that I can get a very close foreground and environment background
it could be a universal super wide angle lens
the design is for DSLR and color shift in the corners are not expected
of course it has a manual aperture
it does not have clicks for the apertures
the shift mechanism may be a bit soft, not like a tilt/shift lens

This is not supposed to be a review!

I don’t dig into CA and soft corners. I just want to share my experiences with this special lens with you and your readers.
If you are interested in full resolution test images, you may find them here on my flickr.

From the practical use I can say, it works great. If you really use it close to 1:1 you have to take off the sun shield but still may get problems with the light and/or shadows of the lens over the subject. The following picture of the lens attached to a Sony A7RII shows, how close you are in these situations.
And I would like to mention, that the aperture has no clicks, the following images are “about” f/11. The shift mechanism is a bit soft too, but it works.

Find the following images and some more here on my flickr album.

The lens mounted on the Sony A7RII

Venus 15mm

Comparison of the sizes: Sony Zeiss 16-35/4 – Laowa 15mm/4 – Sony Zeiss 24-70/4
(it is the E-mount lens, the DSLR lens will be much shorter)

Venus 15mm

On this picture the object distance is set to 1:1,  You see, that this is only useful for very specific situations! You will have problems to get enough light to your object!

on 1:1 there is no chance to get any light on this object
Ok. here are some examples of the practical use of this lens

On the architecture images below vertical lines have been corrected in PP the used aperture on most images is “about” f/11, you never know exactly, when you stop down while watching the focus magnification. Even with f/11 the DOF is very small at 1:1

All images made with Sony A7RII full format camera
On the following images the distance to the front lens is about 5 to 10cm! (I know, it does not look like this, but it is a 15mm lens :-) )

Venus 15mm

on the sample images of the vendor for this lens you find images with mushrooms seen from the below the mushroom, I had to try that as well :-)
(this may be difficult with a DSLR with a fixed screen)

Sony A7RII with Laowa 15mm f/4 Wide-Angled 1:1 Macro

A7RII with Laowa 15mm f/4 Wide-Angled 1:1 Macro

town hall of my home city

Reinfeld Rathaus

Venus 15mm

it seems to be an interesting lens for certain product shots:

Venus 15mm

FNT Seegeberg

FNT Seegeberg

The following two images with the use of the shift function. Both are stitched two images, one full shift down and one shift up,  you see the problems in the corners, the images are not cropped.
With stitched images I usually use the full shift and crop later. Again the foreground is a few cm away!
(no info of shutter and ISO in the EXIF)

Venus 15mm

Venus 15mm

Venus 15mm

The following images may show the normal use as a super wide lens
vertical correction in PP

from a visit to Hamburg, Germany

Hamburg City

the Hamburg Rathaus (town hall)

Hamburg Rathaus

Hamburg Rathaus

Hamburg Rathaus

Hamburg Rathaus

Hamburg Rathaus

Venus 15mm vs. leica WATE vs. Sony/Zeiss 16-35

and last but not least:
the gate was closed and I heard the train coming, I focused on the gate.
The ICE passed me at a distance of about 5 meters and with more than 100 km/h – I got it :-)

Sony A7RII with Laowa 15mm f/4 Wide-Angled 1:1 Macro

I hope, that you got an impression, what this lens can do.

Thanks very much for looking


more of my images:

Oct 292015

The 30.001th Last Post

By Dirk De Paepe

1914-1918: World War 1 and the Ypres Salient

One hundred years ago the whole world was in the grip of the biggest and deadliest conflict in its history. From July 28, 1914 to November 11, 1918 the First World War claimed the lives of more than 16 million people. A total of approximately 70 million soldiers were deployed. More than 1.5 billion people lived in countries that were involved in the conflict. They made for more than 80% of the world population, that at that time amounted to approximately 1.8 billion. The Great War (as WW1 is often referred to) paved the way for major political changes in about all participating countries. As such, it included the end of the prewar German, Russian, Austro-Hungarian and Ottoman Empires.

One of the main war zones, The Western Front, was largely situated in Flanders, Belgium. From October 1914 to October 1918 the battlefield was located just a few kilometers from the center of the medieval city of Ypres. The trenches were situated from north to south in an arc around the city: the famous Ypres Salient. During the four-year war the ancient city in the heart of the Ypres Salient was literally razed to the ground, totally destroyed. From the beginning of May 1915, nobody lived anymore in Ypres. Early 1919, residents reluctantly turned back to their former grounds and little by little they started the rebuild of their city. Many buildings were even reconstructed identical to the plans of their medieval example. After the earlier destruction during the invasion of famous historical Belgian cities, such as Leuven (with the complete demolishing of the world-famous university library), the inhabitants of Ypres had collected many plans of their important medieval buildings. Thus, eg. the famous Belfry and the Cloth Halls could be restored in all their authentic glory.

Picture 1: The medieval Belfry and Cloth Halls are faithfully rebuilt to their original examples

01 Belfry+ClothHalls

In that famous Ypres Salient, no fewer than five bloody battles were fought. A few months after the enemy invasion of Belgium on August 4, 1914, the front stagnated, which resulted in the first battle of Ypres. On April 22, 1915, the Second Battle of Ypres began with the first major gas attack ever. The chlorine gas choked thousands of allied soldiers, mainly French troops and many North Africans. It was the first time in history that a weapon of mass destruction was being used. Later in the war, the Ypres Salient proved to be an experimental battlefield on several occasions: it is here that, in July 1915, flamethrowers were deployed for the first time. In July 1917 the terrifying mustard gas appeared, also appropriately called “Yprite”. And from July 31 to November 10, 1917 raged probably the most terrible battle of Ypres, in its final stage sometimes referred to as the “Battle of Passchendaele”. (Passchendaele is a village near Ypres.) It was a massacre unprecedented. The sense and nonsense of this offensive are still under discussion to this day.

In the trenches and in the no man’s land around Ypres, about half a million soldiers were killed in action between 1914 and 1918. In addition to Germans, French, British and Belgians also Moroccans, Algerians, Tunisians, Senegalese, Canadians, Australians, New Zealanders, South Africans , Chinese, Indians, Jamaicans and many other nationalities were included. But especially the troops of the British Empire yielded around Ypres a very large contribution to the resistance against the enemy invasion. As the victims were often horribly butchered, many bodies could not be identified. But also many of the survivors suffered serious irreversible injuries, with often amputations of limbs and even parts of the face as a result.

Picture 2: even 100 years later, all kinds of explosives are still found on a daily bases by farmers in Flanders Fields

02 WW1Explosives
Picture 3: some of the trenches are maintained

03 Trenches
Picture 4: inside a shelter in the trenches

04 Inside Trench Shelter
Picture 5: outside a shelter in the trenches

05 Outside Trench Shelter

Tyne Cot and Menin Gate

In Passchendaele near Ypres lies the largest military cemetery of the Commonwealth War Graves Commission (CWGC): the “Tyne Cot Commonwealth War Graves Cemetery And Memorial To The Missing” is dedicated to the First World War dead of the British Empire, which fell in the Ypres Salient of Flanders Fields at the Western Front. Here also all missing soldiers and unidentified war dead are specially remembered and honored.

The land on which the cemetery is located, was voluntarily donated forever by the Belgian people to all those who are commemorated here. The names of the missing soldiers are engraved on the walls at the edge of the cemetery on the one hand, and on the other hand also on the walls of the Menin Gate in the city of Ypres, which was built by the British as a special memorial for their missing, even before the Tyne Cot Cemetery monument. In the Menin Gate, the names were engraved of 54.896 Commonwealth soldiers who died here, but whose bodies have never been identified or recovered. When it became clear that there was not enough space on the Menin Gate to engrave the names of all the missing soldiers, the arbitrary cutoff date of August 15, 1917 was chosen and the names of 34.984 more British missing after this date were inscribed on the walls of the Tyne Cot Memorial To The Missing. In total, therefore, 89.880 names of fallen soldiers are engraved. An incredible number, especially when you consider that this relates only to those soldiers of the British Empire who fell in the Ypres Salient and whose bodies have not been identified or not recovered.

Picture 6: Group arrival at theTyne Cot Cemetery

06 Group at Tine Cot
Picture 7: Grave of an unknown Australian soldier at Tyne Cot

Picture 8: Locals at the Menin Gate

08 Locals at the Menin Gate
Picture 9: The Menin Gate Memorial monument

09 Menin Gate Memorial Monument
Picture 10: 54896 names engraved

10 54896 names engraved

Never forget

The First World War is still very present in those Flanders Fields, where still every day unexploded explosive devices are found by local farmers. One hundred years later!

The Menin Gate, Tyne Cot Cemetery, the town of Ypres and the entire surroundings are an area of remembrance – for the Flemish, but certainly for so many British, especially those who cherish the Menin Gate and Tyne Cot Cemetery as the only place where they can commemorate their missing family members of yore, relatives who never could get their own grave. Their name on a wall, among those of their fallen comrades, is the only thing left of them.

Every day, visitors arrive from all over the former British Empire, of course most coming from England, visiting the cemeteries and the Menin Gate. Often it concerns young people, along with their parents, to come looking for a name of a family member on the walls of Tyne Cot or Menin Gate and place a little wooden cross with a poppy, or who are making a school trip to learn about the importance of those commemoration symbols. Every visitor, without exception, is heavily struck by the symbolism of these historical sites.

Picture 11: Looking for a name.

11 Looking for a name
Picture 12: He’s there!

Picture 13: Body language speaks volumes

13 Body Language
Picture 14: Nobody rests untouched

14 Nobody untouched
Picture 15: Comrades in death

15 Comrades in death

The Last Post Association

The “Last Post” is a tune of the British regiments, played on clarion, that announces the end of the workday. At the Commonwealth cemeteries, the performance of the Last Post stands for a final farewell to the fallen soldiers.

Out of gratitude for the tremendous efforts of the troops of the British Empire around Ypres, residents of Ypres founded the “Last Post Association”. The Last Post Association in Ypres is therefore a volunteer organization. The association was founded in 1928 and since then it executes the Last Post ceremony every evening at 20:00h, including the performance of the Last Post tune under the Menin Gate, by at least four buglers. The association has eight buglers among its members. Every day, four of them come to play the Last Post under the Menin Gate. They do this in an endless week regime, on and off.
The Last Post Association sets itself as its target to keep this tradition forever preserved and to contribute to anything that can enhance the significance of the tribute. The association also wants to arouse reverence for everything the Menin Gate represents: the sacrifice and suffering, but also the solidarity, the sense of duty and heroism of the soldiers who took part in the battle. Only during the occupation of the city by Nazi forces during World War II, this tradition was interrupted – for obvious reasons. But the very day that the Menin Gate was liberated, the tradition was taken up again, even though at that time some parts of the city were still in Nazi hands.

The buglers of the organization traditionally wear the uniform of the volunteers of the local fire department to which they belong. But the Association itself is separate from the Ypres fire brigade.
In the decades after WW2 the significance of the ceremony was expanded. The performance of the Last Post now commemorates not merely the casualties of the British Commonwealth, but also those Belgian, French and other allies who contributed to the battles at all costs. But also at the “other side”, many soldiers lost their lives. The enemies of yore, are now amongst our best partners and friends in today’s united Europe. Thus the Last Post under the Menin Gate represents not only a look at our past, but also a signal of hope for the future.

Picture 16: Four buglers of The Last Post Association perform The Last Post tune under the Menin Gate in the city of Ypres, Flanders, Belgium

16 Four buglers
Picture 17: Those volunteers have been playing every single day at 20:00h sharp since 1928, only interrupted by the Nazi occupation of the city during WW2\

17 Volounteers
Picture 18: The traffic under the gate is put to halt to allow for this daily event

18 Traffic to halt
Picture 19: Playing towards the Belfry for the 30001th time, before a daily audience

19 Playing towards the Belfry
Picture 20: Four common guys with exceptional commitment just played the clarion

20 Four common guys

The 30001th Last Post

Every day, a little before eight o’clock in the evening, the Ypres police puts the traffic to halt at the Menin Gate. Daily life stands still to return through the Last Post ceremony to 1914-18 and to remember and honor the fallen soldiers. The Menin Gate was specifically chosen for this daily event, because it was here that all the soldiers marched towards the front, many of them never to return.

On July 9, 2015 this performance took place for the 30 thousandth time. To this occasion, a special ceremony was organized, named ”Tribute to the Tribute”, upon which representatives from the at the WW1 Western Front warring countries signed present and laid wreaths under the Menin Gate. Already for many years, I had attending to the Last Post performance under the Menin Gate on my bucket list. And when, on July 9, I heard the radio journal about the solemnity of the 30 thousandth performance, I realized that the right moment had come.

But more than an elaborate ceremony in honor of a special commemoration, I’m more impressed by the fact that this performance takes place on a daily basis since 1928 – every single day, irrespective of temperature or weather, always with (at least) four buglers. Volunteers… There have been chilly winter days in the past, when the buglers were virtually alone and performed the Last Post anyhow, in all modesty. But, with the increased tourism and especially with the larger numbers of British visitors to the Ypres area, today this daily ceremony is attended by many. After the visit of the WW1 museums and cemeteries in the area, people gather in the evening under the Menin Gate, to enjoy the performance of the Last Post with the special acoustics, provided by the building that is so fraught with symbolism. These people of the Last Post Association do an incredible job here, with exceptional commitment, fully aware of the importance to continue this tradition. The lesson we should draw from both world wars and thus the importance of resolving conflicts through respect and tolerance, negotiation and cooperation, absolutely needs to be kept alive. Since 1945, we manage this fairly well, here in Europe. In the countries situated around the battlefields of the Western Front of WW1 and where during so many centuries the population was almost constantly plagued by so many military conflicts, nowadays the peoples work together, aware of the otiosity of war, and they experience an unknown period of already 70 years of mutual peace. More and more countries have joined the European Union, attracted by the success of this project. Often the cooperation is difficult and needs lengthy negotiations to reach an understanding. Sometimes even, for some it may seem as if the cooperation is about to burst, as has been recently in respons to the Greek crisis. But the union always ends up resolving the problems, because all parties agree to continue to negotiate firmly, to continue to cooperate, because everyone realizes that this is the best, indeed the only path to peace and prosperity. We can only hope that this will inspire more and more countries around the world.

Performing The Last Post commemoration literally every day, thàt is the true uniqueness of what happens at the Menin Gate in Ypres. And so I wanted to capture this ceremony – not the one of the 30.000th performance, but the one of the next day, a typical day like the other 29.999. On July 9, I saw the ceremony on TV and I thought the time was right to go to Ypres. So I rearranged my schedule for July 10 and we left after lunch to the Flanders Fields of the former Western Front, where we arrived around 16:30h. In Zonnebeke we visited the Memorial Museum Passchendaele to see the trenches, which are still kept in tact. Tyne Cot is just a stone’s throw from there and was our next stop. At 19:00h we arrived at the Menin Gate in Ypres, where there were already a lot of people gathered, to attend the Last Post performance. The 30001th, on a day like any other.

I hope (some of) my images can tell you something about the subdued and compelling atmosphere that prevails here, at the Menin Gate, but also at Tyne Cot. None of the visitors remains untouched here. Their body language speaks volumes. The symbolism really works.

Picture 21: The British Empire was the largest world power in those days

21 British Empire
Picture 22: One of the corridors of the Menin Gate

22 One Corridor
Picture 23: In remembrance of Benjamin Walker, killed in action on September 9, 1915. 100 years ago, Benjamin had only fews days to live. His family was here.

23 In remembrance

Picture 24: Sharing family feelings

24 Family feelings

Every day, without exception, and no matter what, four buglers perform the Last Post at 20:00h sharp, in honor of all fallen soldiers of WW1 and to promote peace and cooperation amongst all peoples. Thàt’s the special thing about the Menin Gate in Ypres. Therefore, it was not the special ceremony on July 9 that I wanted to attend. But I wanted to be there on the next day. Because there they were again! Like they were on every single day, since 1928. Four volunteer buglers of the Last Post Association. Along with a lot of people who visited Ypres and its historical sites and concluded their day here under the Menin Gate, to take part in the striking daily remembrance of what took place here one hundred years ago. The photographs in this report are taken on July 10, 2015, in honor of the 30.001th Last Post under the Menin Gate in Ypres. A Last Post like any other Last Post. Like on any other day. Unique.

Picture 25: The Menin Gate, monument for those with no known grave

25 No known grave


If you want to know more about the events, just google “Ypres”, “Ypres Salient”, Menin Gate or “Tyne Cot”.

All pictures were shot out of hand with the Sony A7r, most of them with the Canon FD 20mm, some with both the Zeiss Loxia’s. You can find those pics in full size here on my flickr pages (, where you can check the lens that was used in the tags.

Sep 182015

Photo’s with a Story

By Dirk Dom


When I show people my photographs many ask me what exactly they are seeing. That is a reasonable question, because I shoot quite a lot of abstracts. I generally tell them to appreciate the images on their own grounds. Most people, however, expect photographs to be representative and are not accustomed to having to use their imagination.

I made a booklet which originated as an exercise in playful interpretation of my photos. I picked out about seventy that I particularly liked and challenged myself to create tales inspired by the images. It proved surprisingly difficult. Some of my images seem so simple and have such an impact that I couldn’t think of anything. In some cases I made up stories; in others I wrote down impressions inspired by what I was looking at — what ever came to mind, and sometimes, when the creation of the photo itself was a good story, I shared that too. At random intervals I had left the reader/observer the opportunity to make up a story himself.

This is an excerpt of the book with ten photographs.


The photo above is exercise one. What does it make you think of?

Alien Encounter

A Star Seed floats through space, on its way to the core of the Galaxy to reproduce. Its solar sail is folded up, so far away from any star.

A Guffaw, who normally eats cometary cores, sees the Star Seed as a delightful snack.

The Star Seed reacts to its approach with a giant electric discharge. Intense plasma wires light up in the interstellar medium.

The Guffaw changes its mind and its direction.

The Star Seed floats on, on its journey of millions of years, on track to another star.

With thanks to Larry Niven


Brown Dwarf Life Form

DENIS-P J082303.1-491201 b, part of an ultra cold binary system, has a mass of about 28 Jupiter masses. This brown dwarf is 67.7 light-years or 399 trillion miles from Earth. It was discovered in 2013.

The life which developed there consists of twenty-mile long single-celled organisms (hydrogen filled bubbles made out of polyethylene) who float in the atmosphere and are bioluminescent. These are colonized by photosynthetic organisms. Seemingly there are similarities with the life on Jupiter.

The photograph is made in May, 2144, by the Da Vinci atmospheric probe which flew through a life form, filming, during its descent to the core.

Exploration of brown dwarves is considered a low priority.


Drowning Moth

Beginning of March, 2014, I walked in the Zevenbergen Forest, Ranst.

On the banks of the ditches you can make photographs with lots of contrast, so I walked along the water.

About six feet from shore, this drowning moth. I planned to save it, but first, a quick photograph. A first image without paying attention to composition. Then, this image, with the moth carefully lined up in the dark reflection of a tree. I wanted to take a few more photographs, but the wave pattern the wings made stopped after about five seconds and didn’t start again. I was disappointed. Suddenly I realized the moth was dying and it was finished.

Quickly I looked for a branch, but the only one I found was too short. Pity. The moth no doubt served as a protein rich delicacy to a bird or a frog. It’s a beautiful, but sad shot.

Life is so easily extinguished.


Nuclear blast

I was happily taking shots of forest anemones when World War Three started. The bomb incinerated the Antwerp port at twenty miles distance.

I live, but what good does it do? The anemones bloomed for the last time.



Microvilli (singular: Microvillus, lat. Villus “brushy hair (from animals), wool”) are microscopic protuberances of the cellular membrane which drastically increase the surface of cells. Microvilli are found in the brush border of the small intestine. Because of the large surface macromolecules and ions can be absorbed more easily.

The brush border is the homogeneous layer which is visible at the apical side of the enterocytes (absorbing cells in the small intestine) and the epithelial cells in the proximal tubulus. If this tissue is looked at through a light microscope, one can see that the brush border consists of a great number of very closely stacked microvilli. These microvilli make for a twentyfold increase of the small intestine surface. This increase in surface makes the intake of nourishment much easier.


Me, as a Photographer

This is a fun one.

So I went to take this photograph. At first I wanted to go alone, but I took my sister Nadine along to take the shot.

I hung about ten camera’s around my neck and arranged them in such a way that they showed nicely. But this hopelessly entangled the straps.

After about five minutes the forty pounds of camera started to really hurt and I wanted to take them off.

I couldn’t unknot them. The weight became unbearable. In the end I had to lie down and make my sister disentangle them.

I don’t want to think about what would have happened if I had done this alone.


Love is:
Putting your paws on the eyes of your beloved.



This is how the Daft Punk music looks to Guy-Manuel de Homem-Christo.

The Visisonor, developed by the University of Antwerp in 2017, translates the impressions of the other senses to a visual signal.

Apple bought the patent.

In 2019 110 million Visisonors were sold, despite the violent price tag.

With Thanks to Isaac Asimov


Second Exercise

Oh, yes, believe it or not, this is a photograph!

I can’t make up any story with this.

Can you?


Well, hope you enjoyed it!

And, my apologies!



Aug 262015
SteveHuffJoaoMedeiros 16


A Manual Approach to Wedding Photography

by Joao Medeiros

I’m not comfortable writing. Images, particularly photography are what drives me. Since very young Art was part of my life, I went from painting and waiting to be an architect to abandon everything for a life in the theatre, just to pursue a career in Jazz playing trumpet.

But at my twenties, I was struggling to make it and everyone was making sure I knew I had to earn money to be a successful individual. Money was never my interest, I’m passionate about Art, any form of it. But Photography had a degree of intimacy and control that I had never experienced.

I went to college to take a photography bachelor and complemented it with a bachelor in Fine Arts and a master’s degree in Visual Arts teaching, things went on for a while, drifting in teaching, corporate/event photography, restoration related jobs before I finally found the one area where I had complete creative freedom. A freedom that allows me to choose the gear that gives me pleasure while creating and expressing myself through Photography and eventually sharing my Vision.

SteveHuffJoaoMedeiros 02

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Weddings are something that has been with society since we had the need to express our love for our life companion. Happiness is something that needs to be shared and celebrated with our loved ones. And that’s what I like about them, it’s all about family and friends making the most of Life. When I was in college, I did the whole course with only an Olympus OM 1 and a 50mm, since then manual focus is second nature to me, even when I had top DSLR’s AF never grew on me. But when I used the first serious EVF (Panasonic GH2) I knew what I wanted and what I wanted to see while composing. Eventually, when I step up to weddings I needed the best dynamic range and colour I could get my hands on it, so I bought a Sony A99 and a Nikon D800e to figure out my needs. After a year the Sony won me, not because it was superior to the D800e, it was Sony’s approach to photography that made it. The fully articulated LCD, I. S and Minolta’s heritage all over the place made the A99 a superior tool in my hands.

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When the mirrorless Sony A7 appeared on the scene I had no doubts and bought one immediately with a set of Zeiss ZM and Voigtlander lenses with the VM close adapter. Since then, shooting has been a real pleasure. Nothing beats feeling your shots, even when we are capturing fleeting moments like kisses, exchanging vows/wedding rings or sharing a secret while on the dance floor at 4 am. Having a small, robust camera with the best glass in the industry makes me feel very confident and secure that when I get home, I have all I need to put together a body of work that reflect my vision. That’s the main lesson I learned, you really need to follow your own unique vision of things.

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We are all different, but you really need to push beyond the limits to reach for that inner voice. Recently I added the amazing sigma Art 35mm f 1.4 to my set, the only complain is its sheer size when compared to my little Zeiss ZM 35mm f2. My workflow is pretty straightforward, I use B&W mode to concentrate on composition and focus while having red peaking and magnify to guarantee that every moment is in focus. For 75% of all my work, I use the 35mm focal length with my Sony A7 and take advantage of the articulated LCD from the A99 to get more discrete and intimate portraits with the 85mm, also from Sigma. Just a little detail, I removed the slt mirror from the A99 and use it in manual focus, so it’s basically a big mirrorless camera. I’m more of a guest than a professional photographer, at least that’s how I’m perceived by my clients, family and friends. A friend who happens to make a living from photography. I really try to enjoy the wonderful day, conscious that I’m very fortunate to be at a private party while making a living. I’m always the first to arrive and the last to leave, it’s after all a body of work and not just a staged kiss with the golden hour moment. It’s people that drive me, the concept of family and friendship not staged moments.

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I’m looking forward to get the new Sony A7RII since it brings some new features like a new and stronger shutter that it’s better damped, the I. S, min. auto shutter, copyright embed info, better high ISO performance and even the silent shutter option although with some caveats.

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Thank you.


João de Medeiros

Jul 242015


Olympus EM1 + Sony A7s – Still my favorite Combo!

By Neil Buchan-Grant

Hi Steve

I thought I’d share some new images with your readers. I’m still loving the Olympus EM1 and Sony A7s although I have to say, since the Olympus 40-150mm zoom and the new 7-14mm zoom came out, the Oly has had more use. I also recently bought the Oly MC-14 1.4x tele converter for the big zoom and for me its performance in terms of resolution and sharpness underlines the big range now offered by the Olympus system. These 3 PRO zooms give me pretty much all I need for general travel work and the 12-40mm has all but replaced my wide primes with no loss of image quality. I still only tend to get the A7s + Leica M 35mm or 50mm f1.4 Summilux’s out when I’m out at night or I’m shooting low light work but with these lenses it still offers something a bit special.

My friend a few weeks before giving birth – EM1 – 12-40mm 2.8 PRO @ 25mm – available light and off camera flash



My friend and her baby girl who had just had another lifesaving operation only days after her birth – Sony A7s Leica M 50mm 1.4 – mixed available light


My friend holding it together by reading Winnie the Pooh to her baby girl who was still gravely ill only one week after her birth – Sony A7s – Leica M 35mm 1.4 – mixed available light


My work here is a mixture of commissions and personal shots ranging from an architecture job in Oxfordshire, corporate portraits and a trip to Wimbledon tennis championships to some intimate portraits of my friend Scarlet and her baby, Frida. The baby had a traumatic and complicated birth and had to be resuscitated several times in her first few days. Thankfully she’s doing brilliantly now and is thriving! Thanks again for the opportunity to share these with your readers and keep up the great work! If anyone is interested, I have a new, short program of workshops on my website here:

My friend and her baby Frida who was finally out of harms way and seemed to be enjoying her new world – EM1 – Leica DG 25mm 1.4 – window light





Frida just a few days ago, now 2 months old and currently my favorite model! – EM1 Leica DG 25mm 1.4 – window light



The Prado Museum in Madrid during a quick break – EM1 12-40mm 2.8 PRO @ 15mm


A late night bar in Madrid – Sony A7s Leica M 35mm 1.4 – available light


A studio portrait of the actress Hetty Baynes Russell, who was married to Ken Russell the British film director. – EM1 12-40mm 2.8 PRO – continuous light through 4ft softbox



Another shot of Hetty – Sony A7s Leica M 50mm 1.4 – window light


A photograph of a rather special Barn design in Oxforshire at dusk – my friends Arthur and Kate were the architects who designed it – EM1 7-14mm 2.8 PRO @ 7mm


The same building during the day – EM1 7-14mm 2.8 PRO @ 7mm


A model in Prague – EM1 Leica DG 25mm 1.4 – window light and reflector



A corporate shoot in London – EM1 12-40mm 2.8 PRO – Off camera flash




Self portrait in the studio – EM1 12-40mm 2.8 PRO @ 35mm – continuous light through a 4 ft softbox and reflector



Britain’s number one female tennis player Heather Watson winning her match at Wimbledon – EM1 40-150mm 2.8 PRO with MC-14 @ 420mm (effective length) wide open at f4


Another self portrait in my garden – EM1 7-14mm 2.8 PRO @ 10mm – available light and off camera flash


A tree surgeon working behind my garden – EM1 40-150mm 2.8 PRO + MC-14 @ 420mm (effective length) wide open at f4


The same shot as above from the same spot, the tree surgeon is just visible – EM1 7-14mm 2.8 PRO @ 7mm


OLYMPUS DIGITAL CAMERA where you can join me in Berlin, India or China/Tibet over the next 10 months!

Jul 222015



by Michiel Faro

Time to get some of my own work out there, to be commented on and be criticized, instead of it all going the other way.

A bit about myself: I’m 62, Dutch and live in Holland, married, a stepson of 18 and two lovely two-year old girls. I work as a lawyer in Amsterdam. I have two potentially time-consuming hobbies: riding racing bicycles (I rode competitively for 25 years) and photography. I’ve been photographing since I was 14 or so.

My late father taught me everything, darkroom work included, though we never progressed to colour. I started with a Werra, which is more or less the most simple and wellmade camera one can think of. A Zenit slr was next, then a Yashica TL Electro (great camera), until a Nikon FM2n followed in 1990; a body I still have and use with great pleasure. FE2, an FM3a, a Contax RTSIII and a collection of used Nikkor and Zeiss primes round-up my analogue stuff. Digital started in 2008 with a D200, then a D700, then a D800 and now a D800E (both the 800 and the E can be underexposed routinely by almost up to a stop without any noticeable loss in image quality; a real bonus) with the 24, 35, 58 and 85 1.4G’s. I like the SLR form factor, prefer OVF’s over EVF’s and displays, dislike tiny camera bodies that may be light but have infuriating ergonomics and no viewfinder, and once you’ve gone full frame there’s no going back to a smaller sensor. Oh, and I don’t buy the next best thing every time it comes out, which can be quite frequent. Learn the stuff you have thoroughly, and that’s complicated enough in itself.

My photography can be divided roughly into three main categories: portraits (close, and possibly intrusive), situations/geometry/shapes, and emptiness. That last category is even more frustrating than the others and might be suitable for another post in the future. For this submission it’s situations/geometry/shapes and portraits.

Near the place I work in Amsterdam are two photo museums: FOAM and Huis Marseille. I try to go there on my lunchbreak every month or so. There’s always something to see. I may not like a particular exhibition or image, but it always sets your mind working: what is it I don’t like, what is it I do like, could I emulate it, could I approach that level of perception and technique, what sort of gear was used (ha!), etc etc. On the net, apart from the usual gear sites it’s AmericansuburbX and Lensculture I have a look at quite frequently; always something interesting to see.

Foremost in my mind (subconsciously no doubt) when taking photographs is light and contrast. Light because of what the infinite varieties of light can do to what the human eye (and film or sensor) sees. Contrast because of the inherent, subdued or loud, tension I wish to see in the images I take. Interest, tension, something that makes you wonder, makes you ask questions, is what I’m looking for. Always.

So here is a selection of B&W film images, made with cameras like the Contax RTSIII, Contax RTS, Contax S2, Nikon F2AS and Nikon FE2 and a variety of primes, usually Tri-X and HP-5, and colour images, made with the D800 and D800E. Two of the three portraits were made with the Nikkor 58/1.4G, an amazing (and sometimes frustrating) lens; the third one with the 85/1.4G, another gem.

The 58, to dwell on that subject briefly, is attractive as an everyday walkabout lens (I have a camera with me always; 1.4/35 this week) for its (comparatively) low weight, but you have to account for the almost “short tele” like focal length. It really shines as a portrait lens in ambient light. I think it is, for all it’s failings, a classic in the making that has to be used frequently to be fully appreciated.

Captions for the images are as follows:

B&W Situations

1 Man in FOAM museum: camera and lens unknown, TRI-X

2 Man with hoodie: Nikon F2AS, Nikkor 2.0/35 AiS, TRI-X

3 Man at Terry O’Neill exhibition: Contax RTSIII, 1.4/35 Distagon, TRI-X


B&W Portraits

4 Cor: Contax RTS, 2.8/85 Sonnar, HP5


5 Olivier: Contax S2, 1.7/50 Planar, TRI-X


6 Rob Regeer, the artist and his art: Nikon FE2, Nikkort 1.8/50 AiS, TRI-X





Color Shapes

7 Nikon D800E, Nikkor 1.4/58G

8 Nikon D800E, Nikkor 1.4/58G

9 Nikon D800E, Nikkor 1.4/58G


Color Portraits

10 Ed de Jong, photographer, with waitress held napkin reflector at his insistence: Nikon D800, Nikkor 1.4/58G

11 Jan Maaso, friend, Nikon D800, Nikkor 1.4/85G

12 Wessel, colleague, Nikon D800E, Nikkor 1.4/58G


Thanks to Steve and Brandon for posting this and, more importantly, for keeping this podium alive for many to post on and for even more to comment.

Best regards,

Michiel Faro


Jul 212015

Moment, Chaos and a Personal Perspective

By Shaul Naschitz

Hi Brandon and Steve,

I have been featured on your site more than once before, but hopefully you allow me to contribute a few thoughts once more.

I consider myself a savvy amateur photographer. I started with this means of self-expression about thirty years ago and kept doing it with more or less involvement ever since. Naturally, the digital revolution inspired a significant boost to my photographic endeavors; not least by the ever evolving technologies of creating photographs and “publishing” them. Between 2010 and 2012 I dedicated a lot of my spare time to writing about photography. The resulting blog, with its 900+ posts, never got much attention (maybe because it’s written in Hebrew…). One day, perhaps when I retire, I might try to make a nice and thick book of it.



Anyway, in the past year or so my interest in photography has been progressively waning. I don’t carry a camera on a daily basis anymore and when I do use one I tend to do so more purposefully than before, so I shoot much less. It is not the cost that deters me like in the olden days; it is the tedious task of browsing through a mountain of rubbish to pick the few gems worth keeping. The paintwork on the Delete buttons on the backs of my cameras is always worn out.



Another recent development is I don’t care anymore what others think of my work. Especially peers on web-based communities. I have long ago forsaken the aspirations of making a living of my hobby and finally accept the notion that I am not “better” than others. If anything, my sense for business is way below average, just like the pleasure I get from fulfilling the expectations of complete strangers. So why bother? I am old enough to serve as my own judge.





I know that all of this sounds like old cynical bickering, but I assure you I have never felt happier, more light-hearted and liberated about my photography. After so long I feel free to explore this fascinating medium and create art, my own art. The charm in photography to me has everything to do with its inherent limitations and “flaws”. It is a great tool for observation, much less so for expression. In fact, any other art form is superior to photography in terms of sheer creation. Photography is so tightly embedded in the physical world it can’t really escape. So creating art using this medium must involve dismantling rather than construction, authorship rather than creation. Photography dissects the flow of time into distinct moments and allows us to concentrate on those fragments. That property is unique to this medium and gives it its strength.





Cartier-Bresson coined the obscure and much debated “moment decisif” as an ideal of thematic and geometric order in a chaotic situation. But I am interested in the opposite: chaos itself. A bit of chaos makes things messed up, tense, interesting. Instead of fighting the ever-present, crude randomality I now work with it.



The symbiosis of moment and disorder is what makes photography so fascinating to me. An extreme example of that are group dance performances, where despite the meticulous planning a lot of individual character comes through. You can’t usually observe slight synchronization errors or fleeting facial expressions when watching a live dance show, but a camera can reveal a lot. The same principles are obviously relevant to more reactive genres, such as street photography and photojournalism. It is just a matter of giving up control and letting chance play its role. And I didn’t even mention the fun in doing so.

Shaul Naschitz

Jun 082015


The Mitakon Dark Night 50 0.95

By Isi Akahome


Hi, my name is Isi, and I’m a bokeholic. It all started when I first shot with a rebel t2i in Target, and I fell in love with blurred backgrounds. Ever since then, I’ve chased after the widest aperture lenses. I remember drooling over the Leica Noticlux 50mm 0.95 when Steve and Digitalrev did their reviews on the lens. I wanted one, but unfortunately, the acquisition cost was laughable. My favorite lens on my old Nikon D800 was the 50mm 1.4, and then mirrorless cameras came out and that opened up the opportunity to get even wider apertures on a full frame sensor. Last November, I got the AMAZING Sony A7S and I started looking into moderately priced manual lenses with good optics. The thought of manually focusing was scary, but now I wouldn’t have it any other way. The first lens I got was the Canon fd 58mm f/1.2, but it wasn’t as sharp as I would have liked and didn’t provide the amount of contrast I was looking for. This image below is a perfect example. The lens does render bokeh quite nicely.


Then the Mitakon lens was announced! 50mm f/0.95 for under $1,000? It was like a dream come true. I remember scouring the internet for reviews and sample images for weeks. The comparison Steve did with the Noctilux was very helpful, because the difference in performance wasn’t nearly as close as the difference in price. In fact, in my opinion, it was negligible. After a lot of contemplation, I decided to get one. I found a demo copy on eBay for $750. The packaging was exceptional. It made me feel like I just purchased a priceless work of art. The box the lens comes in is quite spectacular, and the lens has a nice heft to it. It looks very well built, and for the price, I have no quibbles about the build quality. I decided this was going to be the lens I would use for most of my assignments. It seemed like it would be up to the task. I just had to master focusing with the lens wide open with that razor thin depth of field. The results have been nothing short of amazing. The subject isolation I was getting was just so unique that I was only shooting at f/0.95.



Getting sharp focus accurately and consistently is quite challenging, but focus peaking comes in quite handy, and my accuracy has gone up substantially. Sometimes I just move a couple of inches back or forward as my subject(s) move, instead of turning the focus ring, and that makes a world of difference in getting shots in focus. When the focus is spot on, the sharpness wide open is very good, especially for portraits. Here a few shots I did for clients in varying situations.








The one advantage that’s rarely mentioned about wide aperture lenses is the amount of shadow detail you get in situations when the subject is backlit. The faces of subjects are much brighter than with any of the other fast lenses I’ve used. Even in this photo with the harsh backlight from the sunset, the amount of shadow detail is quite impressive.


Wedding season is about to start, and I’m both nervous and excited to use this bad boy to shoot full weddings. I think the difference between f1.2 and f0.95 is noticeable, it could be due to the fact that the lens has a certain look and character that makes the images unique to my eye. I don’t really have any complaints, except for the distracting bokeh rendering of foliage or busy backgrounds I sometimes get.


I also shot the lens at smaller apertures because I had to in studio conditions, and it performed just as well as I would expect. These were shot at f5.6.



I am very pleased with the results I have been getting with this lens. Even for random shots, it works fantastically. I took this as our plane was taking off from New Jersey.


Mitakon has done something special with this lens. It is such a bargain considering what the lens can do. I would recommend this lens to anyone looking for a fast 50mm lens for their Sony A7 series camera, or other bokeholics who just want the shallowest depth of field with the added benefit of a versatile focal length. It’s a lot of fun to use, and you get all the bokeh you can handle. Don’t worry about manually focusing either. With focus peaking, it’s a breeze, and it almost forces you to compose your shots with more thought, purpose, and precision.

Thanks for reading. You can see more samples of my work on:

Keep up the awesome work Steve! You’re a rockstar.

Isi Akahome

Apr 222015

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Uluru: Photographing an Icon

When you first hear of Uluru, you most likely imagine desert, Indigenous Australians, tourists and a very big rock. Conceptually you know that this is a spiritual place and that there is some pretty deep cultural significance when it comes to the land here. You may even realise that The Rock is one of Australia’s biggest (literally!) draw cards, hosting more than a quarter of a million people each year (amazing, considering how isolated it is).

What you may not be able to truly comprehend is the fact that big doesn’t even begin to describe this thing. Nor the fact that its spirituality will affect you, even if you are not a religious person – it is just that kind of place. So come on a walk with me as I share my (regrettably too short) visit to this magical, mysterious marvel.

5D Mkii with 17-40mm lens at f9; 1/40sec; iso 200; 40mm

At nearly 350m high and almost 10km in circumference, this truly is a big rock!

5D Mkii with 17-40mm lens at f9; 1/40sec; iso 100; 38mm

The Red Centre is just that – red and right at the geographical heart of Australia.

5D Mkii with 17-40mm lens at f10; 10 iso 100; 40mm

OM-D E-M5 with 45mm at f1.8; 1/3200 sec; iso 200; 45mm

One of the first things you will most likely do (assuming you arrive later in the day, as we did) is to run up to the nearest lookout so you can get your first glimpse of Uluru – and a selfie, of course!

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When you arrive at the visitor centre, you will get a shadowed view of the rock face – if it’s morning – and the amazing colour will not yet be apparent. It is when you finally see the surface bathed in sunlight that you first understand how vibrant this rock really is. Red doesn’t quite describe it, but orange is too lurid a word. These pictures come close but, like the Grand Canyon, different light makes for different experiences.

OM-D E-M5 with 75mm at f6.4; 1/200 sec; iso 200; 75mm

5D Mkii with 17-40mm lens at f7.1; 1/40sec; iso 100; 37mm

OM-D E-M5 with 75mm at f4.5; 1/2500 sec; iso 200; 75mm

5D Mkii with 17-40mm lens at f9; 1/50sec; iso 100; 40mm

One of the next things you will notice will affect you in one of three ways. Seeing people climbing the face of Uluru can make you hunger for the thrill of bagging another unique peak. The sight may mean nothing to you – people can do what they want. Or you may feel a form of anger at people who so willingly decline to accede to the wishes of the traditional custodians of the land. As photographers we are asked not to record images showing this activity, however I feel that the image shows that individuals will always make their own decisions.

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For me and my wife the walk around the base was a revelation. As you start the circumnavigation, you are blown away by the height, more than anything else. At 348m at its highest point, Uluru is more than double the height of the Great Pyramid at Giza and even just pips the Eiffel Tower. Once you get over the height (you never really do) you begin to notice the textures and colours. Weathering from wind and rain and sand have left patterns in the surface – some of which are just pretty, but many of which are considered to be a form of scripture to the Anangu People who have lived in this region of Australia for at least 30 000 years. The patterns act as visual aids in the oral traditions of the Anangu and photography of many of the eroded areas of the rock is prohibited. Signage lets you know what you can and cannot shoot, but erring on the side of caution is recommended.

5D Mkii with 17-40mm lens at f7.1; 1/80sec; iso 100; 17mm

OM-D E-M5 with 75mm at f8; 1/200 sec; iso 200; 75mm

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One of the next things you may notice is how still and quiet the air is around Uluru. Yes, I do mean the atmosphere in more than one sense – on the day we were there it was perfectly windless (I am unsure how normal this is) but mostly I refer to the sense of peace and solitude that exists. We were there just before the peak tourism period begins and maybe that had something to do with it, but I doubt that was the only reason. Standing before this chunk of weather-beaten arkose, it is easy to understand why it is held sacred by the Indigenous people. There is an eerie sense that you are both alone and at the same time, not alone. Again, like the colours, it is more easily experienced than described.

5D Mkii with 17-40mm lens at f8; 1/40sec; iso 100; 17mm

Finally, the light and the way it interacts with the rock and trees. As photographers we are always chasing light and you will not be disappointed on your visit to Uluru. Be it harsh midday sun or soft pastel light and the edge of the day, Uluru’s grandeur absorbs the light and throws it back at you in myriad ways.

OM-D E-M5 with 75mm at f5; 1/250 sec; iso 200; 75mm

5D Mkii with 17-40mm lens at f16; 1/15sec; iso 125; 17mm

5D Mkii with 17-40mm lens at f10; 1/30sec; iso 400; 40mm

This iconic landmark was on my wishlist for many years before my wife and I finally visited. We always wondered whether the reality would live up to the hype. Now we know that reality’s shadow leaves the hype’s glitter just a little dull. The only thing left to do now is to visit again. And again…

5D Mkii with 17-40mm lens at f11; 1/60sec; iso 100; 17mm

A short list of things to remember:

May is a great time to go – fine weather and less tourists. Rent a 4×4 – you’ll see more places at your own pace. If you plan on using any of your images for commercial purposes (if you want to sell the images) you will need a permit. It’s a pain, but worth it – and you get park entry included for yourself and an assistant (my wife was my assistant!) so cost works out similar to if you just visited.
Some sites and viewpoints are restricted for cultural and religious reasons – respect these rules. Driving in the outback after dark is hazardous – hitting a kangaroo or cow at speed is potentially deadly. Be careful! Put the camera away for a least part of your trip – really experience this amazingly spiritual place for its own sake.

By Wesley Walker

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I am an Amateur photographer who dabbles in stock photography. Mostly I take images while hiking (particularly on holidays!) but I do occasionally set out to make specific images – still working on that!



Apr 162015

Artistic vs. Technical Perfection

By Olaf Sztaba

When browsing photography on the Internet it appears to be one huge quest for technical perfection. Message boards are groaning with perpetual arguments about the superiority of one camera system over another.

Then, there are thousands of photos so immaculately processed and photo-shopped that their technical perfection creates awe and envy in aspiring photographers. But many of the photos remind us of others we have seen before. They somehow feel plastic, artificial and cold. They lack emotion and authenticity.

In contrast, when you look at the images from the masters such as Henri Cartier-Bresson or Sebastiao Salgado and others, you find thoughtful compositions, subtle moments and moods. Are they the most technically perfect photographs and the sharpest images you have ever seen? I don’t think so but somehow your eye feels content, your brain slows down and your visual emotions are elevated.

What strikes us is that those who produce a body of great work often don’t consider themselves photographers. They grab any camera and create art – they are artists. When Cartier-Bresson started shooting with the 35mm camera, other photographers of his time dismissed his new tool as a toy (back then only large format cameras were considered serious). But we should learn from artists. They see way beyond pixels and MTF charts. For them technical augmentation is just a distraction.

So why are we so occupied with a litany of technical do’s and don’ts? Why do we ask the wrong questions so many times: Which camera should I buy? How do I sharpen photos? How do I apply layers? Which software should I use? and so on.

Don’t get us wrong – we like photo gear and are well aware of our ‘contribution’ to this plaque. However, each time we put everything technical in the back seat and let our emotions and inner artistic self rule our photographic process the results always astound us.

Sure, it’s not easy. But the next time you think your photo is not sharp enough, your images are grainy or your camera doesn’t have elephant resolution this may be the best thing that has happened to you. Maybe it is the right moment to stop and re-focus on seeing.

All images were taken with the Fuji X100S/T, Fuji X-T1 paired with XF 14mm F2.8 and XF 50-140 F2.8.

Olaf Sztaba









Apr 022015

There is no “I” in Team

by John Tuckey

Team Efforts

I wouldn’t advise anyone to overload a shoot with unnecessary bodies. The fewer people cluttering your space, the better. The less people to organise the better. It’s an absolute if you’re trying to create a sense of intimacy or intrigue and a simple practicality when you’re working to a budget or a tight time scale as most of us are. But ‘one man and his lens’ is not always enough – indeed, modern professional work is hardly ever created so. It’s a creative collaboration between the photographer, an art director, a stylist, a make up artist, a hair stylist, a lighting technician and possibly a set dresser. That amazing image in magazine ‘X’ is usually the result of a tight team who have a good working dynamic – not ‘one man and his lens’.

If you’re thinking about crossing this river and working your shots with a team it can be daunting at first. My advice is to keep it simple and pick your team carefully, don’t waste your resources and know who you can and can’t live without. I get my moments, but I’m still no pro – so I won’t worry about an assistant until i try a complicated location set-up. And a stylist isn’t even on my list unless I get involved in a commercial fashion shoot and the client specifically requests one – and even then they will probably be chosen by the art director.

So I’d suggest that for an amateur or hobbyist, the bodies to make sure you have covered on a model orientated shoot are the make up artist and the hair stylist. Sometimes the model can cover this off herself, but indispensable doesn’t even come close to describing the best I’ve worked with. And without even thinking I can give you three very good reasons why they’re always worth stretching the budget for.


A skilled makeup artist can simply transform a face. Try these two of Emily, one with ‘normal’ self done makeup and the Next from a Make Up artist.



The Devil is in the Detail

Much of my work revolves around vintage themes. Having the right make up or a particular hair style makes the world of difference. In these portraits of Olivia, the lighting may well have achieved the look on its own, but the work of the hair stylist in those thirties style fingerwaves added the polish – making the vintage feel of the final image effortless and complete.




Tricks, Shortcuts and FX

These Lonsdale shots aren’t just about beauty and boxing, but also strength, character and control. The make up artist on this shoot pulled the FX off with ease: Jammy the model was engaged with the concept and we got some great shots as a result.




Saving Time in Post

Doesn’t digital mean make up artists are a waste of money? If you don’t think of the hours you’ll spend in post-production as money, then I’ll grant you that a hair or make up artist might not be your best use of budget. But I’d rather get it right for real on the day and trade that time in front of a screen for more time with a camera thanks – a good MUA allows that.

If you are interested in my images or my workshops you can follow me on facebook at http://www.facebook/jrtvintage, on twitter where I’m @jrtvintage, at my own site at or on my gallery page at Saatchi Art


Models: Emily, Olivia Harriett, and Jammy Lou

Emily and Jammys Make Up: James Minahan

Olivia’s Hair: Le Keux Salon
Best regards

John Tuckey

Mar 282015

A Small Pit Bull with Balloons, an A7II User Report

By Brandon Labbe


Much like Godzilla in the 2014 movie “Godzilla,” I recently strolled through the streets of downtown San Francisco. Unlike Mr. Zilla, however, instead of being met with giant moth creatures that blew blue fire, I was met with dragons. Yes, you read that right, dragons! Monstrous creatures that breathe fire and eat every person they come across; at least, that is how one would describe wild dragons. Amazingly, unlike their wild counterparts, the dragons of San Francisco are very well-trained, as they simply stood in place waiting their turn to delight the crowds gathered for the Chinese New Year parade that San Francisco hosts every year a full two weeks after the actual lunar new year day passed, which is like seeing New Year fireworks on the 14th or celebrating St Patrick’s Day on Easter, and trust me, you do not want to celebrate St Patrick’s Day on Easter.

Heavy drinking and easter egg hunts are not a good combination. Of course, when one comes upon a dragon in the middle of one of the most densely populated cities in America, the logical course of action is not to grab your children and run, but instead to take out your A7II and take a picture. I know, we San Franciscans are a strange bunch, but I’d like to think that’s what most people would do if they saw a dragon, as opposed to follow Harry Potter’s lead and jump on its back, but enough dragon jokes, on with the A7II!

If the A7II were an animal, it’d be a lion, because it’s the king of cameras. Unlike a lion, however, it takes amazing pictures and instead of eating zebras it eats batteries. I know what you’re thinking, “please, no more animal jokes!” but this comparison is actually Sony-approved, because I’ve seen ads for the A7 series with a roaring lion behind the cameras, and I must say, an advertisement must be amazing to make someone describe it in detail in a camera review. Sony’s got some geniuses in their ad department. In all seriousness, yes, it eats batteries, in that I used to only need one where as now I need a second one in my pocket if I want the camera to be on all day. You see, I was expecting a horrific battery life based on reviews I’d read of the other A7 models, so the first thing I did with my II, straight out of the box, was put it in airplane mode, and two batteries lasts me an entire day. Battery life aside (and, again, even that isn’t bad), there is absolutely nothing wrong with this camera. Now, it’s not a perfect camera, because, as experts have echoed a thousand times, there is no perfect camera, but I believe you can only get so close to perfection. Can I drop the II out of a plane and expect to recover it without a scratch? Of course not, because whoever was passing by when it fell would snatch it up in an instant because it’s a perfect camera!

I’m not one who is well-versed in camera lingo, I just know a good camera when I see and use it. I could say it’s got a good build, a good sensor, weather sealing, nice grip. Hell, it can probably do your taxes for you. I didn’t really notice these things, though, because they just worked well. When something works well, you don’t really notice. That might seem like an odd statement, but to try to let you see it from my perspective, think of it like this: in movies, you know immediately when someone’s a bad actor because they make certain mistakes or are just all-around unconvincing. However when someone’s a good or even great actor, you almost don’t notice because you’re so subconsciously convinced by their performance that you forget they’re acting. If that was confusing, let me put it this way: you know when a camera is bad because you have a lot of complaints over it. However, if a camera is perfect or near perfect, you don’t really notice. It just works the way you want it to. It complements your style, it doesn’t get in the way when you’re not using it, it doesn’t disturb your or anyone’s experience with a loud shutter at a quiet moment. It doesn’t freeze, crash, miss autofocus, explode in your hand, etc. It really is easier to say what a camera doesn’t do than what it does. That doesn’t just apply to cameras, but anything. If something works well, you don’t really notice. It’s only when something doesn’t work the way it should that you notice. To apply this way of thinking to the II and other cameras and technology in general that I’ve owned, the II is the only thing I’ve never felt the desire to throw against a wall. Though that may seem like a silly thing to say, I assure you that is extremely high praise.

The thing about the body that did stand out, however, was the viewfinder. Though I don’t use the viewfinder to take pictures (see my reason here:, I find it incredible. Looking through your pictures with your eye to the viewfinder is like seeing your pictures in 3-d. Have you ever looked through a stereoscope (one of those old-timey 3-d viewers where you have a card with the same image printed twice and you look through the viewer and it looks 3-dimensional)? The viewfinder is like that, but in color and high-quality, and even though I don’t use it to take pictures, I look through pictures with it because it is just a phenomenal viewer. I wish it were detachable so I could plug it into my computer and view all my photos with it because it is just so incredible.

Then there’s the iso. The beautiful, amazing, incredible iso. 10000! Ten-freaking-thousand, and I still got a pic that I could print as large as I’d like. How many cameras can you say that about? And if you can’t tell which one of these I took at 10000, that just proves my point. Okay, I’ll just tell you because it actually looks cleaner than some pictures. It’s the photo of the with the clock tower in the distance.
For a review of the lens, the Zeiss 35/2.8, which may as well be welded to my II, I could sum up my feelings for it by comparing the pictures I take with it to balloons. They’re all colorful and pretty, but when the lens is especially sharp, the pictures pop. Just look at the pictures above to see what I mean.

Also, compared to other cameras I’ve used, pictures I’ve taken with this camera, not all, but some, seem to glow. I think this is a combination of the lens and sensor. I’m sure this sounds like a very amateurish observation, but it’s true. With the right light and shadows, some pictures seem to glow. I like the look so much, I try to find the right conditions to get that glowing effect in as many pictures as I can. I don’t have a very good example of this effect from the parade, but I’ve run into the effect several times in daily shooting around the neighborhood when the sun is just right. I don’t think I’m explaining myself well enough. When I say they glow, I don’t mean some of the pictures look smudged or that blown out highlights somehow look pleasing. What I mean is the way light is reflected and dissipates into shadows is like nothing I’ve ever seen in any camera I’ve used before. Perhaps this is just a full-frame thing – a light sensitivity that smaller sensors couldn’t hope to achieve, but I think there’s more to it than that. I think there’s something really special here, in the II, or maybe even the whole A7 series; something you can’t just be told about, but you have to experience for yourself.

The one flaw that I found was, as good as the auto white balance is in the day, at night it seems to favor a blue tint. This isn’t noticeable a lot of times, because night is rather blue anyway, but, looking back through photos now, and even at the parade itself, I noticed that the live view display and the resulting picture looked noticeably more blue than the scene before me. No great fault if you shoot in raw, but if you shoot in jpeg, I’d recommend going manual on white balance at night, or at least, only if it’s noticeable, because it only happened to me twice.

If you’re curious as to what settings I use, I have it in manual mode, and that includes iso. 95% of pictures are with autofocus, and the autofocus might miss only once in 200 photos, and even when it does, I don’t complain because the photo still looks good. I’ve heard some people have had a bigger problem with autofocus, that it ‘hunts’ sometimes, especially at night. I constantly have the lens in center focus mode so the lens always knows what I want it to focus on  I have the lens at a constant /5.6 because that’s the lens’ sharpest aperture. I only go wider at night or in close-ups.

Another thing I love about the II is how unassuming it is. I was surrounded by guys with fat dslrs and lenses thicker than my arm, and I actually enjoyed the condescending looks they were giving me, as if I brought a chihuahua to a pit bull fight. If only they knew.

To recap: my II is a pit bull the size of a chihuahua, and my pictures are balloons. I think that sums up the A7II/Zeiss 35 combo very well, a small pit bull with balloons.

Also I should note that the parade isn’t this unorganized. Most of the pics were taken before the parade actually started.











Mar 242015



by Paul Bartholomew

Dear Steve

This is my second user report I’ve written for your great site but this one is quite different from my last one (An Englishman in New York).

I’ve been a Canon user for years having had a 5DMK II, a 7DMK I and the camera I shot for part of this review the excellent Canon 5D MKIII. I have a little Olympus E-PL 1 and a Canon G11 too but my pride and joy is my Leica M240. That camera is the second M I have owned having upgraded from an M9 about 18 months ago. And what an upgrade! I really can’t understand those who prefer the M9, the colours, the noise, the dynamic range – all much better on the M240 to my mind, with live view to boot with EVF support (this is important for this article).

I’m not exaggerating when I say the Leica M240 is the camera I had hoped the M9 would have been, but whenever I shot with the M9 I found the images a little muddy in their tones – like the files were missing some information – not so with the M240.

After bumping along happily with both the 5D MKIII and the Leica M240, I realised the Canon was mostly staying in its foam-lined drawer in my study, I preferred to shoot with the M240. This wasn’t something that had happened with the M9 – the 5D MKIII gave me better images, but not so when compared to the M240. So, I began to wonder whether I actually needed the 5D MKIII… Of course letting go of the body was one thing but letting go of the lenses was quite another. At this point in time I owned a 300mm f/2.8L (easy to get rid of, I seldom shoot long), a 24-105 f/4L – a nice enough lens but not one that I actually used that much, a 16-35mm f/2.8L II – a lens I was nervous to lose (the widest I had for the Leica was 28mm) and a 85mm f/1.2L II – a gem of a lens that I loved. These two lenses were the anchor of my Canon system – they were preventing me from moving on.

However, when I sat down and worked out how much I would get by selling the Canon kit new possibilities opened up, but first I needed to see whether I could fill the niches of my Canon anchor lenses with a couple of Leica compatible lenses. Here’s what I bought: For the wide end a Voigtlander 21mm f/1.9 and for the fast portrait niche a Leica 80mm f/1.4 Summilux R (with a Novoflex R to M adaptor) – my EVF for my little Olympus would be put to good use! These two lenses complemented my existing M lenses – a Zeiss 28mm f/2.8, a Jupiter 35mm f/2.8, a Zeiss 50mm f/1.5 (calibrated to f/1.5) and a Jupiter 85mm f/2. To be honest, I never really used the Zeiss 50mm f/1.5 that much – too long for street work and for portraits I found it to have too much contrast for my taste.

Once I’d secured the lenses I thought I would do a comparison shoot before I made a decision whether I could/should divest myself of the Canon kit (although by this point the 300mm had already gone). So, I booked a model that I’d worked with on previous occasions and set to work. Some notes first though… I’d never done a lens test before so apologies for any errors in the process I may have made, also – the M240 doesn’t record lens data from my non-coded lenses and estimates the aperture based on the exposure settings. In some of the pictures my model Holly is holding up fingers to help me record the aperture I was shooting at.

Long end first – the Canon 16-35 f/2.8L II @ f/2.8 at 21mm (TOP) vs the Voigtlander 21mm @ f/2.8 (Bottom) – click images for larger!



Of course with all of the camera and lens changes, I forgot to let Holly know that the Canon would collect its own data! Indeed the EXIF data let me know that I was actually at 22mm, not 21mm.

I don’t think there is that much in it in terms of sharpness but the Canon lens shows less divergence of vertical. Nonetheless I prefer the tones from the Leica. I also think more shadow detail is captured, look at the purple sofa and Holly’s dress in the Leica/Voigt. combination. Unsurprisingly, both lenses show some chromatic aberration in the window frame.

At f/5.6 both lenses now have the chromatic aberration broadly under control:

Top is Canon, bottom is Voigtlander. Click images for larger!



Differences in colour balance / colour rendering aside, the Leica/Voigt. combination seems to hold much more detail now and is much sharper at the edges of the frame, look at the green Tibetan chair-bed bottom left.

Peripheral sharpness picks up on the Canon at f/8 (TOP) but it is still outperformed by the Voigtlander (BOTTOM):



This was enough to convince me that despite the 16mm to 21mm wide end variance, the Leica and Voigtlander would look after me. And…. The Voigtlander could shoot at f/1.9:


I then went a little longer and compared the mid-range of the Canon with my Zeiss 28mm f/2.8. First, wide open. TOP is CANON, bottom is ZEISS, both at f/2.8:



Here, it’s a mixed picture, more chromatic aberration in the window frame with the Canon but it is giving better shadow detail (look at the front of the cabinet) and it is sharper in the peripheries of the frame. The Zeiss is sharper in the middle and could be said to have greater contrast (the flip side of the lower shadow detail). I prefer the colours with the Leica/Zeiss combo though.

At f/5.6, the Canon looks really good, the chromatic aberration is under control , central sharpness is higher too. Slight exposure differences aside, the Canon is still showing less contrast than the Zeiss – which is now showing sharpness to rival the Canon right across the frame.

At f/8, it’s really only the higher contrast of the Zeiss that is separating them:



So, after all that I felt I was OK at medium wide – especially give the relative sizes of the two setups!

Just for fun, I thought I’d compare the long end of the Canon 16-35mm with my diminutive vintage Soviet – the Jupiter 35mm f/2.8 – I was not expecting comparable images and the differences were clear at f/2.8. Canon on top, Jupiter and M on the bottom:



The Canon, even wide open at the long end of its zoom range, seems to control chromatic aberration well and is offering significantly more contrast than when zoomed out. It’s pretty sharp right across the frame too. The Jupiter is another story altogether, unable to control the bright window light, the veiling flare lowers the contrast significantly and although centre sharpness is at least as high as with the Canon, it drops off drastically as we move away from the centre. Look at the candle on the left and even Holly’s feet on the right. I do like that vintage look though, it’s why I bought the lens.



As shown above, at f/5.6 there’s little to complain about with the Canon and it is significantly sharper than the Jupiter everywhere, including in the centre of the frame. And although contrast and sharpness is better with the Jupiter than it was at f/2.8 it can’t keep up with the Canon. This is the same for f/8 too, as shown below. Canon is the 1st image, the Jupiter is the 2nd.



Of course, the Jupiter was never going to be the equivalent of the Canon, but it is a fun little lens to have nonetheless. However, I may need to get myself a higher fidelity M lens if I want to shoot with precision at that focal length.

Now for what I think is probably the main event of this head-to-head review – a comparison of portrait lenses. Mainly, it’s about comparing the Canon 85mm f/1.2 L II with the Leica 80mm f/1.4 Summilux R. But, I’m going to throw in the Soviet 85mm f/2 for good measure too.

First of all, at the widest common aperture of f/2, they really are quite different. The Canon is sharp and exhibits high contrast – it is crisp, as one might expect. But when you cast your eye from that image to the clearly softer and lower contrast Leica image, the Canon begins to look a little ‘crunchy’ – I wonder if others would agree? Then comes the Jupiter, like its 35mm cousin it is low in contrast, but nonetheless it does appear to be pretty sharp:

TOP: Canon 85 L at f/2, MIDDLE: Leica R 80mm at f/2, BOTTOM: Jupiter 85 at f/2




At f/2.8 things aren’t particularly changed – same differences, perhaps just a little less extreme:

Canon, then Leica, then Jupiter




Of course, one really buys these lenses to shoot wide open – we’ve seen the Jupiter wide open but what about the other two? Firstly, both at f/1.4:




I don’t believe the Canon is any sharper now – look at Holly’s eyes on both. The Canon still has more contrast, but I am struck by the sophistication of the Leica image – sharp and soft and the same time. Also, look at the decoration on the wall and the edge of the sunlight, the Canon is exhibiting some chromatic aberration. OK, let’s see the Canon at f/1.2 – that aperture is the reason for buying this lens after all:


To me, on the eyes – this looks a bit sharper that the f/1.4 shot. I was shooting from a tripod but perhaps this is just the difference between hitting the eyeball with the focus point rather than the eyelashes. I just don’t know – although Holly’s mouth is sharper too.

All this out of camera comparison is a bit artificial though isn’t it? I’m never going to shoot models (or any portraits for that matter) without editing – I pretty much edit everything. So, given that – if I had to work on the three wide open images from each lens (I pretty much always shoot portraits wide open), what do I get? I’ve deliberately over-edited a little – particularly the eyes (using a detail extractor) because I wanted to see what information was there to be had and to share it with you. They are all edited slightly differently but with the aim of them bringing the best out of the lenses while getting them to a fairly similar end point:

1st CANON, 2nd LEICA, 3rd JUPITER – all wide open




I found the results surprising. The ‘crunchiness’ of the Canon (something I’d have never attributed to it prior to putting it against the Leica) was difficult to overcome. Transitions between light and shade seemed to accentuate really easily in the edit and I found the highlights difficult to control too (perhaps related to the sensor rather than the lens). The Leica on the other hand is, I think, quite beautiful – I’ve been able to reveal the sharpness of the lens (look at the eyes) but the softness and smoothness puts the Canon to shame – at least in my view. Then there’s the Jupiter – a dark horse: with a careful edit, it performs really well. Given that it cost me less than 5% of either the Canon (new) or Leica (used) that’s remarkable. I should say I used the EVF for both the Jupiter and the Leica. The Leica isn’t coupled so that was a must, but my Jupiter was designed for another camera and can be a bit focus shifted on an M.

For me the quality of the Leica has surprised me and shows that sharpness on its own can leave you wanting. This test allowed me to be happy to let the Canon 85mm f/1.2 L II go, and with it the 5D III and the other lenses too. That’s allowed me to buy a Sony A7 II, a Sony Zeiss 55mm f/1.8, a Voigtlander close focus M to E adaptor and a Canon 50mm f/0.95 rangefinder coupled lens, which I will get back in a few days when its conversion to M mount is done. I’ve also bought a dinky Nippon Kogaku (Nikkor) 5cm f/1.4 SC for a bit of fun after having let my Zeiss 50mm f/1.5 Sonnar go too. I’m finding I’m preferring a more classic low contrast look nowadays. So with those bits of kit and some LTM to M adapter rings, I can use all but the Zeiss FE 55mm f/1.8 on both cameras and I’ve kept some autofocus capability for shooting moving targets too. Additionally, I think the A7 II with its in-body stabilisation might be useful for some low light work when the need calls.

Altogether I feel I have gained flexibility from making the change.

A final word on the Leica 80mm f/1.4 though… It might not stay. I love how it looks, I’ve included a couple of real (non-test) shots below, but as an R lens it is a bit of a pain to use. Shooting it wide open requires precise focus and it doesn’t exhibit enough contrast for focus peaking to be effective so focusing through the EVF (it can’t be done any other way) needs to be done in zoom. Since there is no coupling, this requires the button on the front of the camera to be pressed, the eyes located, precise focus found (without peaking), the button pressed again to de-zoom, and the frame recomposed. By which time your subject is frustrated. As am I.

So there you have it, a long and rambling lens comparison posting that started out as an exercise for me to inform myself. I hope sharing it will be of interest to others too. I’m not sure how many comparisons between those particular portrait lenses are out there – I haven’t come across any.

At the moment then, I’m really looking forward to getting the 0.95 Canon back, something I wouldn’t have been able to justify buying without selling on the Canon SLR kit and I do feel broadly happy with the lenses I have. I may yet get a stronger 35mm and I may yet swap out the Leica R too.

So, thanks for reading and I’ll leave you with a couple of shots that I made with the 80mm f/1.4 Summilux R. After all, I may not be keeping it for long…



I hope this reads alright Steve. I’ll send the images on in following emails – it might take two or three.

I hope you will be able to let me know whether you think it is suitable – I hope it is!




From Steve: As always, for your Leica needs I recommend Ken Hanson, and

Mar 182015


Panasonic Lumix GX7 and Yashica Makro-Planar in the Punjab

by Ibraar Hussain

I took a two-week trip to the Western Punjab (the real Punjab) in Pakistan and have just returned.  Most of my 14 days were rained off so I couldn’t go to where I had planned and use my Rolleiflex with my Rollienars. What I did do was shoot with my new Panasonic LUMIX GX7. I had initially decided upon the Fuji XE2 but I couldn’t justify the price difference.


I actually bought it after much research as something to compliment my Rolleiflex and Contax G2. I could also use my Yashica AF lenses with it and could use it to photograph birdlife too. I find the use of adaptors exceedingly useful, and decided to buy one to fit my Yashica AF lenses.

I chose this over the Olympus OMD series as:

a) It’s cheaper
b) Handling was more to my liking – the OMD EM-5 and 10 have a terrible grip and I wasn’t too keen on the overall design.
c) love the tilting EVF and LCD so I sometimes use it like I do my Rolleiflex – with a waist level finder.
d) it’s made in Japan rather than China

Took me a day of playing around at home to get used to it and I managed to set it according to my requirements, I set the Function buttons to what I want, with 1 focus point and Centre Weighted metering.

My weapons of choice were my Yashica AF 60mm Makro Planar f2.8 (this lens, I have been informed by many reliable sources, is a rebranded Contax Zeiss 60mm Makro Planar so Sshh… don’t tell anyone and pick up a bargain – superb lens which doubles as a nice short tele and portrait lens) the Fotodiox adaptor has the aperture control on the barrel which I am so happy with as another niggly hindrance is the jog dial to change the F stop which is cumbersome and slow.

My other weapons were the compact metal, Made in Japan 30mm Sigma AF fit and the Yashica AF 210mm f4 zoom . I left my other Yashica lenses including the 24mm Distagon type at home as I didn’t think I’d need a standard lens as I was aiming to shoot portraits and Birdlife.

Anyway I shoot mostly in the 1:1 square format and I shot some portraits of Punjabi people, young and old, rich and poor, in villages, town bazaars and shrines and enjoyed the experience.  I visited the colonial city of Sargodha, and took a long train ride on the 5’6” Indian wide gauge Railway. Trekked around the villages and fields near Sarai Alamgir near the City of Jhelum by the Jhelum River. And visited the Shrine of the Muslim Saint Pir-e-Shah Ghazi, Dhamrian wall Sarkar, Kharri Sharif, Kashmir.

In a two-week trip I only shot 260 odd exposures with it and most were keepers.

Beggar Kid, at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8


Beggar Kids, at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8


A Malang or Fakir or Jogi at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8



This is an excellent camera, and bar some niggles I will explain later, almost perfect in many ways. It looks great, the flip LED and EVF are excellent ideas and so useful. Lovely size and feel, and very quick to start up. Excellent picture quality and very good smooth ISO 800 speed for portraits of people indoors with natural light. Function buttons can be set, so the advanced user can have all at his disposal. 1:1 square ratio mode Takes good video too. Can use other lenses with adaptors. Focus peaking is very effective for MF.

A Malang or Fakir or Jogi at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8


A Malang or Fakir or Jogi at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8



I find the constant computerised settings messing around annoying and it tends to get in the way, and things keep happening if I accidentally touch the screen which is sensitive.
Having too much is a hindrance too – sometimes I’d rather just make do with a certain ISO speed and work around this, rather than spend ages pondering what speed to set it at.
This needed dedicated buttons for most things, the Function buttons were ok though.

I find the lack of a dedicated concise Exposure Compensation dial a hindrance, I was constantly having to press the appropriate F button, push one of the toggle dials in and then change – whereas a dedicated compensation DIAL would’ve been perfect.

Changing aperture using the toggle Dial is very annoying and lacks the precise feel and involvement a lens barrel mounted aperture ring gives.
and I think the EVF is a tad small though it is bright.

Beggar Kid, at the Shrine of Pir-e-ShahGhazi, at Kharri Sharif, Kashmir.
Yashica 60mm Makro-Planar f2.8


Jatt Villager saluting, near Sarai Alamgir, Punjab, Pakistan
Yashica 70-210mm f4


Jatt village Girl, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8


Jatt village Girl, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8



I prefer the use and feel of my Contax G2 for this type of portrait and people photography and the look and feel of 35mm E6 is way beyond what this M43 can achieve, but even so,Great camera with great results and the 1:1 ratio coupled with smooth ISO 800 are great to have.

I cannot see any reason to buy a budget APS sized DSLR or other camera any more, the picture quality is about the same, with the advantages of being compact, well-built and very quick.
All my images were JPEG fine and resized with border added in Photoshop – I don’t shoot Raw.

Some photos are soft, this is because focus is manual with the 60mm and focus peaking though very helpful isn’t flawless and I’m also in my 40ies so half blind!

The Yashica 60mm lens by the way is stellar – wonderful rendering and contrast and pin sharp if focussed correctly.

The 210mm is soft wide open and the 30mm Sigma is a tad long to be a standard lens but wonderfully sharp.

Ultimately though, pictures are as good as the person behind the lens, and I think I would’ve got more or less the same results with any Digital Camera with any sized sensor.

You can see some of the others I shot at my Flickr

Rail passenger. Sargodha to Mandi Bahaudin
Yashica 60mm Makro-Planar f2.8


View from the Guards window, Sargodha to Mandi Bahaudin
Yashica 60mm Makro-Planar f2.8


Mr Shahid, in the Guards cab, Sargodha to Mandi Bahaudin
Sigma 30mm f2.8 DN


Deaf Lad, in the Guards cab, Sargodha to Mandi Bahaudin
Sigma 30mm f2.8 DN


Hijra’s, Eunuchs at Sargodha Station.
Yashica 60mm Makro-Planar f2.8


A portrait.
Yashica 60mm Makro-Planar f2.8


Kashmiri Village Girl, near Sargodha, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8


Kashmiri Village Boy, near Sargodha, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8


A ‘Sain’ boy, respected as divinely gifted, at a Cigarette and Pan stall
Sarai alamgir, Punjab, Pakistan
Sigma 30mm f2.8 DN


Jatt Village children at play, near Sarai Alamgir, Punjab, Pakistan
Yashica 70-210mm f4


Nain village Child, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8


Kashmiri Village girl, near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8


Kashmiri near Sarai Alamgir, Punjab, Pakistan
Yashica 60mm Makro-Planar f2.8



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