Nov 252014
 

thor

The NEW Wotancraft THOR and Ryker Brown Camera Bags!

I love Wotancraft bags. Today, at the end of 2014, I have tested and tried bags from so many companies. Many have been reviewed here, some were used and not reviewed (when I did not care for the item) and a few were used and given away to readers on my Facebook page.

One company that NEVER EVER fails to impress me 100% of the time is Wotancraft. When it comes to QUALITY and FUNCTIONAL and FASHIONABLE bags, Wotancraft is #1 in my book. Sure, there are some mighty fine bag companies out there making beautiful bags today. Artisan & Artist, ONA, Billingham and Hold Fast Gear. Sure, there are bags that are basic and cheaper and VERY functional. Bags like Think Tank are #1 when it comes to function but stylish they are usually not.

Some people could care less about style, and others MUST have style along with the function. For me, the best I have seen EVER for this kind of bag (style and function) is from WOTANCRAFT, without question. This is what makes them my #1 favorite bag company ever. In my last review of their Ryker (black) I was so excited about this bag that they sold out quickly after my review. Many waited 2-3 months for their Ryker as they are produced in limited runs. Many asked me “do they make this beautiful bag in Brown leather as well as black”?

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Well, I am happy to announce that yes, the Ryker is NOW available in Brown as well as black. The brown and black are both here sitting next to me at my desk and I can say that both are just BEAUTIFUL. I feel the brown will wear in better over the years and develop a rich patina but both are equally as impressive in the looks, build quality and materials used as well as FUNCTION, the #1 reason we need a camera bag. This brown would look SO SO good with a silver chrome Leica M housed inside, or even a Fuji X100 or X-T1, Leica TOlympus E-M1 or a Sony A7 series camera. Have a Leica X, that will work as well :)

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In fact, I find for my use that the Ryker is the most functional bag I have owned when using a Leica M or mirrorless system. It’s really that good. 

The new Brown Ryker can be seen in my review video below where I talk about it and the new Thor bag (which is a beautiful beast of a bag). Both are beautiful as well as the best constructed bags I have ever used, tested or owned.

THOR

The new Thor is very interesting as it comes in at a VERY high price tag of $849 USD. Yes, just $150 less than a cool grand. EXPENSIVE? HELL YES. Worth it? Well, that depends in YOU and how m much you are comfortable with when buying a bag of this quality. These are high end bags and are made to a very high standard as well. If you want quality, as in, lifetime quality, these bags will stand the test of time without questions. When you buy a bag such as the Thor ($849 USD) or Ryker ($379 USD) you can expect to own it for the rest of your life. It will travel with you everywhere and only develop character scars from your own use. Patina will develop over time and in 20-30 years the bag will be rich in history and beauty. That is the kind of bag you can expect from Wotancraft. One thing I have learned in my 45+ years on this earth. Buying quality 1st saves you money later as you do not have to replace your items when you buy the good stuff up front. ;)

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I have nothing but high praise for Wotancraft. Premium materials, premium construction and build and super function. These pieces are as good as it gets for me. Highly Recommended.

You can see more about these bags or order them at WOTANCRAFT direct using THIS LINK. You can also see more of what they offer by clicking HERE. 

Wotancraft is also having a special for the Christmas Season. Anyone who buys a bag will receive a very nice travel pouch with their order!

free

Nov 192014
 

Steve Huff in Las Vegas (10)

Testing the new CosySpeed Camslinger Bag for Street Shooting (Video)

A month or two ago I was out in Las Vegas with the Head Honcho of CosySpeed (Thomas Ludwig) who travelled all the way from Germany to let me see his newest bag as well as shoot some video of me street shooting while using it and putting it to the test. I also did an interview where I answered quite a few questions about photography as well as discussing things I enjoy, my style and what drives me. It was a great time and I enjoyed it as I was doing what I love to do in a city I enjoy for its vast amount of photographic subjects.

Here I am using the new “Paris Grey” Camslinger in Las Vegas NV a few weeks ago. See how I prefer to shoot on the street…

I talked about the CosySpeed Camslinger bags when they were launched and I actually really enjoyed them. I even used on my recent Southwest Road Trip workshop during the Antelope Canyon portion of the event. It worked out VERY well as it allowed me to carry my Sony A7s without even realizing I was carrying it. Much lighter than a backpack, less noticeable on my body than a strap and a great fast way to get your mirrorless camera ready for action.

CAMSLINGER 160 Paris Gray

In Vegas I used the new Grey model which I thought was pretty nice, especially when compared to the Green and Black original. The grey was classy and looked great. As I walked I even had a couple of people ask me what bag it was. The whole concept of the bag came to CosySpeed owner, Thomas Ludwig while he watched two of his favorite movies. One was a Clint Eastwood western, which insider him to make a holster style case that was a bit different from the typical “Fanny Pack” we see today. The Camslinger does not sit on your waist like a fanny pack, it sites more like a holster for your camera…slightly lower on one side for easy access to the camera inside.

Steve Huff in Las Vegas (10)

As I walked the streets of Las Vegas with the Camslinger I found that I never even noticed I was carrying a thing, until I went to grab my Camera. It is that light and un-obtrusive. After that shooting session I was sort of hooked on the holster bag. It was functional, it was attractive and when it was on me, I did not even realize it. Thomas told me they also were releasing an all black version MINUS the green, which is also killer for those who want their case/bag/holster to be all black and stealthy.

CAMSLINGER 160 Street Edition

The belt is adjustable, the bag is adjustable and can be made wider depending on your needs and they come in a couple of sizes. They also do not and wilt break the bank. These bags are well worth the cost at $99 for both the special edition Camslinger 160 in Paris Grey and the 160 Street Edition in al black.

In this world of $400-$600 camera bags, getting a simple, functional and very lightweight holster for your camera at $99 seems like a bargain of the year.

Don’t be put off by the looks, in use it is fantastic. You can buy these Camslinger Bags at B&H Photo HERE.  I now own the Paris Grey version I used in the video above and love it. When I need to take one camera with me, the 160 Camslinger goes with me and it is like not even bringing a camera as you really do not realize it is on!

Steve

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PRESS RELEASE BELOW:

New CAMSLINGER bags from COSYSPEED.

Just in time for the Christmas season, COSYSPEED introduces two new color editions of its CAMSLINGER camera bag for compact system cameras: the CAMSLINGER 160 Street Edition and the CAMSLINGER 160 Paris Gray. Both versions of the bag will be available by mid-November for a special price of 79.99 Euro / US-$ 99.00.”

AD Steve NOV14

A quick word about Street Photography

A week or two ago I posted a video I whipped up about how I GO ABOUT shooting images on the “street” and a few of you (only a few) chimed in saying “taking portraits in not street photography” – well…who defined what street photography is? Those who like to shoot the backs of heads or sniping shots of unaware people? To me, that is just random shooting.

For example, Vivian Maier is one person I consider to be an amazing “street photographer”. In fact, I prefer her work to any of the old masters many rave about. She did a mix of “decisive moment” shooting as well as “street portraits” and she is now known as a great street photographer, as she should be. That is what she did and she was fantastic at it. But saying portraits of strangers is NOT a form of street is incorrect, as it is.

Steve Huff in Las Vegas (6)

I do not and have never posed anyone though sometimes they pose themselves if I am doing that sort of street portrait. I like to mix it up and get people without me telling them up front and I also like to chat it up with others, and then ask them for a photo. It works both ways but I do not “pose”  – I just go out, walk around, look for interesting people to meet and try to be as social as possible as this approach usually yields some great results, more so than sneaking shots of people walking by or “decisive moments” of someone walking out of a shadow in front of a building which is so overdone it is quite boring to look at today.

I find people interesting and in a place like Las Vegas, most are willing and excited to talk with you. It’s a fun time and shooting strangers is something I have always enjoyed. Its therapeutic and feels great and yes, this is indeed a form..a version..a variant of “Street Photography”.

I enjoy it and in the grand scheme of things, that is ALL that matters ;)

 

Nov 172014
 

retina

The New 27” Apple iMac 5k, Trick or Treat?

by Charlie Webster – See his Flickr HERE

For high-performance digital photography you need a great body. And, you’d like a great lens. Finally, you’d like a great way to view your results. A fundamental Troika. In analog, this could be a M6, 28 Cron and a really fine print. You get the picture.

I’m a photographer and ski instructor in Sun Valley, Idaho, where I’ve lived since 1978, but my main business is computer consulting. For years I had almost all my clients on Windows machines, and I built many of them myself. Since the introduction of Windows 8, I’ve been switching them all to Apple. After years with fast Windows machines, my main rig has been a Mac for two years now.

For me, it pays to keep up, so on October 16th I caught the live feed for the “Apple Event”. I’m cleaning the house while silly skits play to raucous fanboy cheers, etc, when suddenly the subject is a new “5K iMac retina”. My ears prick up like a labrador who hears a hand in the milkbone box. Rut-ro, 14 million pixels? Woof! 70% more than 4K display, which I’ve been drooling over! By the end of the presentation I know one thing: the earth has moved and I must have one of these. I smell the third leg in a digital troika: M9, M Lens, and now……. 5K 27” Retina display.

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To this point I’ve always built my own desktop machines. Never dreamed I’d buy an iMac. Build a hackintosh? Sure. Spend thousands on a big all-in-one? Not this chump! But the luscious Scoobie-snack prospect of seeing M9 files at near full resolution on a 27 inch monitor brushes my DIY ethos aside in an instant, and I dig out “the card”. Fundamentally cheap at heart, I pull the trigger on a basic model with one upgrade: a 3 TB fusion drive. I order an extra 16 gigs of RAM from a third-party vendor to save some money. I’m spending the value of a 50 Lux on the used market today for my brand new Apple 5K. Will it be worth it?

*See the new iMac 5k Right HERE*

I track the iMac from the factory in China, to Japan, to Memphis, to Salt Lake, and finally to Hailey, a few miles away. It arrives, I fire it up, transfer my stuff from Time Machine, set desktops/spaces to cycle my better shots, open several tabs in Safari to follow some discussions, then get into some of my huge libraries of Sony and Leica Raws in Lightroom, resizing some favorites to 16×9 to use every pixel. All the time I’m checking my desktops for the full size images they show.

How do the files look?

Remember when you opened your own full frame digital files for the first time? Maybe it felt like you’d left the earth and taken flight once you saw the rich depth in those images. The 5K gives that sort of rush; and then some. This is the M9 of displays, even calibrated with the same feel and rich contrast of color slide film. Words cannot describe a mountain landscape with the 21SEM pushed to your eyeballs by 14,700,000 pixels on the 27” Retina display. You feel at once astounded, and instantly entitled: of course my shots should look like this! I knew I was a genius!

My first days with the rig were spent figuring out the best ways to view and edit Sony A7 and Leica M9 images, while carrying on with day-to-day computing. On background, I learned there are some great 27ish 4K screens under $2000 which may have a wider color gamut and superior calibration potential for printing than the Apple 5K. Users report that Windows operating systems scaling to 4K, let alone 5K, renders icons, menus and even web pages in curious, not optimal ways. Ideally you would want a 2560x1440ish display for surfing and GUI interaction, and 4k to look at fine stuff.

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With the 5K iMac, Apple has tackled the scaling issue head-on. When “Best for Retina” is selected in display options, this beast runs 2 resolutions simultaneously! One mode is 2560×1440, like a standard thunderbolt display. So your dock icons look normal and webpages are normal size, but Velvia clear, with 4 pixels making one, or something like that. We don’t realize the pixel noise in a native 2560×1440.

Imagine Safari taking up a box about 40% of the total screen space with an interior resolution of 2560×1440, with Steve’s site looking creamy smooth, surrounded by a desktop background—glittering as if from another world. Maybe some sweet shot with a CV 35/1.2 and lots of character, or a sharp UWA landscape with lots of tiny details. What rez will that be? 5120×2880, AKA 5K. Right behind your Safari window! I’ve been using cmd + h to hide Safari and check out my backgrounds as they rotate every minute, then cmd + tab brings back your work window. When you see a favorite shot on the 5k for the first time…

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Some programs, or sites appear to do exactly the same thing. Flickr, for example, seems to really “rez up” images for the 5k. In Lightroom you pull up that sweet etching of light from a wide open 28 cron, and how do you see it? 5120×2880, while sliders and controls are normal size. That sight will drop your jaw and change your workflow. Here is the crux of this quantum leap: with an M9 RAW up on the 5K we interact with the whole image, like a great print. When we study a smaller part of the image, the rest is still attached. You want to know if your ZM18 managed to resolve tiny details deep in the corners? Just look. Don’t zoom, just look. It’s obvious. You want to really check it out? Move your head closer. You don’t see pixels till your nose is getting close. Both lens and image character are revealed in breaking clarity. You find yourself exploring parts of shots you made which you’d never really appreciated.

Only a high quality print could compare and I doubt many are sharper than this. If the color gamut is richer in print, colors still look great on the 27 Retina. As I read in board discussions, the Eizos and NEC monitors may have a wider gamut and can be better calibrated for printing accurately. Yet, in person the 5k Imac is routinely described as “the best display I’ve ever seen” by geeks who’ve seen all the wide gamut 4k stuff. Which is not to say it’s the best predictor of print colors.

The 5K 27” display has an aspect ration of 16×9. Of course, it should have been 5212×3468, like the M9, but oh well. Many of my shots go from pleasing to not so pleasing in composition when cropped 16×9. A few look better. You put the right shot in there and it looks awesome. In future, I make some images especially for this aspect ration with the M9. Meanwhile, pristine un-cropped images glisten with two thin border edges. They look fantastic on the thing. And you can put some icons on the sides, too.

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How does it perform? Well 14.7 million pixels require considerable attention, so this generally snappy rig does gasp here and there in the heavy lifting, like some tasks in full screen photo editing. It doesn’t freeze, but it will drop frames or hesitate at certain times. We are at the frontier of what’s possible, after all.

After playing around quite a bit in LR, my conclusion is: once again library size may matter. In my large catalog, I was surprised to see the machine hesitate to apply a 16×9 crop and stagger to adjust the orientation of a graduated filter, while in other aspects and other spaces the machine was running fine. Finally, getting this report ready, I made a fresh library to edit shots for this piece, and the machine really ripped, very smooth with all the features at full screen. Going back to the big library it seems better, perhaps there is some resizing of thumbnails going on etc, which will make a big library run fast in the future. But short-term, you may want to use smaller libraries if performance becomes an issue. There is also the option, with a few quick clicks, to reduce the overall resolution for heavy editing, which does increase performance, then return to “Best for Retina” for viewing pleasure. 5K quirky? A tad, but like with the M9, the pudding just tastes too good to really care.

My advice is to get as many extras as you can afford in configuring a 5K Retina. It’s Apple so there aren’t many. A faster Card, a faster processor and some drive and ram options, that’s it. Get everything you can afford, but if you can’t afford anything more than the base price of $2499, my advice is: order tomorrow. A few staggers with tough tasks is small ransom to release your images from the smeared filter of coarse sub-4k pixels. Let your images blaze on one of these things and they will inspire you all over again. Here is a new and fundamental piece of digital kit, like the camera body and lens. Finally…..we have a display at the level of an M9 and 50 Lux, which can show you those results with a click and little compromise.

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Bottomline: 5K iMac Retina is a game changer for digital photography and desktop computing. Nothing like this has ever been built before. Like a digital Leica, it’s a wonderful step into the future and an incredible tool to use. Not without quirks of course. Thumbs up, Cupertino!

Thanks to Steve for his wonderful site and I hope everyone enjoys my take on the new 5K. “K” is for “Keeper”!

Charlie Webster
My Flickr:
https://www.flickr.com/photos/55299472@N07/

I shot the images in this report with A7 + Bokina 90/2.5 and M9 + CV 35/1.2

*See the new iMac 5k Right HERE*

Nov 142014
 

loxia

The Sony A7 and Zeiss Loxia 50mm f/2 Lens Review

by Tomer Vaknin

Dear Steve,

First let me say how much respect I have for you and the other members of your website, I have learned a lot by exploring the wonderful photos you all shared, equipment reviews and inputs. I would like to share my own personal experience with the Zeiss Loxia 50mm f/2 Planar T* lens.

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As a proud and very happy owner of the Sony Zeiss 55mm, I was hesitant to purchase the Loxia. However, after reading the positive impression of the lens in Photonika 2014 and as a huge fan of M mount lenses that I am, I simply had to try the Loxia. Here are some photos I took with the Zeiss Loxia 50mm f/2 Planar T* in Amsterdam streets, Marken village and Rennstrecke Zandvoort, during a holiday I took with my wife in the Netherlands.

I hope these photos, along with my personal impression of the lens, will help some of undecided readers in making the right decision for themselves.

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My personal take on the Zeiss Loxia 50mm f/2 Planar T*:

- Great 3D feel (Check the box shot that was -take on a bed)

- Wonderful Bokeh

- Lovely Creamy look

- Great character

- Great colors and contrast

- Very sharp!

Overall, The 3D look, the creamy bokeh and feel + the very nice tone and color makes it a winner. The shots taken with the Zeiss Loxia 50mm f/2 Planar T* looks like they were taken with the Leica lens.

Although the Sony Zeiss 55mm is an amazing lens and you can’t go wrong with it, I personally prefer the Loxia.

www.facebook.com/tomer.vaknin.5

You can order the Zeiss Loxia lenses at B&H Photo HERE

Nov 122014
 

Cubans

The Ricoh GR in Havana Cuba

by Lorenzo Moscia – See his website HERE with some beautiful photos

This trip to Cuba was for family reasons. My wife has not see her father since 2008, so it was basically a pretty intense trip. I decided to go very light with photographic equipment because for the first time in the past 8/9 years I was travelling abroad with no photo assignment on my shoulders or any particularly freelance plan on my mind.

But Cuba and la Habana are always a very good place to be with a camera.

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Cubans

Cubans

I bought a Canon 6D with a 50 1.2, and a Ricoh Gr V 28mm fix lens.

Each time I was walking down the street and take out the Canon all sort of people would approach me because I would represent the typical “yankee” with dollars. I would start to talk to them in a sort of cuban slang (I have been married to my cuban wife for the pst 14 years) so they would let me alone. But going around with the Ricoh was a totally new experience for me. I rediscovered the pure pleasure of the “street photo”, just going around with no particularly subject in mind with a little camera in one hand, and none would be pay attention to me.

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I usually use it with A, and find very easy to play with the apertures. But I love as well the TAV function, where I set the aperture (lets say 5.6 or 8) and the speed ( something above 125) and the camera just find the ISO to match the timing. That is very useful when you walk around and you just shoot on the move and you don’t want panning pics.

No one gave me any attention with that camera even in some more extreme “barrio” neighborhoods where the average tourist does not normally go. I really felt like I was invisible.

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The bad part about Ricoh is battery life very poor even if I had the “blind screen” option. I will have to buy an extra battery. The problem is here in Rome is very difficult to find.

Second issue is the auto focus in low light condition which is a bit slow,  even if there is a manual and snap options wich are very good by the way. The files look amazing with very balanced color and a very good dynamic range.

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Cubans

Cubans

Cubans

The Canon stayed in the bag most of the time and I used it basically for the portrait series (See Below). Some days I went around with just the Ricoh inside the pocket of my shorts and I would take it outside holding in one hand like a pocket of cigarettes, spot a scene from a distance get closer and take pictures without looking at the screen. If I would go buying “fuel” at the local market down the road, for the family, the Ricoh would be always in one hand allowed me to take pictures even if I was carrying market bags on bought hands.

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I m sort of happy because I can see that in the market there are more and more new options each day of small compact cameras with even better sensors, quicker focus and more general functions. Using this camera in the streets of Havana It was not exactly like my first love, the one and only Contax G2 black with the 28mm, but, I must admit that the feeling it come pretty closer.

Lorenzo Moscia

http://www.lorenzomoscia.com

You can buy the Ricoh GR these days for under $700 at Amazon – HERE.

Nov 112014
 

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The Voigtlander 40 2.8 Heliar Aspherical Lens for Sony FE Review

*See my full Sony A7s review HERE*

I have had this new Voigtlander 40mm f.2.8 Heliar lens for almost 2 weeks now (Thanks to CameraQuest.com) and it is a unique lens to be sure. On one hand, it looks like an old classic lens and on the other, it is actually a modern-day lens made to modern-day standards by Voigtlander. It is a lens made for the Sony E or FE mount (It is a full frame lens) yet it was made in Leica M mount. Even while being made with a Leica M mount, it can not be used on a Leica M as there would be no way to focus the lens…

Yes, this lens does not have any focusing mechanism built into it. It is not auto focus or manual focus! As it comes out of the box, it is NO FOCUS as you will need an adapter to focus this lens.

If you have not watched my video on this lens, do so below to get an idea of what I am talking about

It all sounds confusing but it really isn’t. What Voigtlander has done is create a lens for the Sony system, cameras such as the A7, A7r and A7s while keeping the lens tiny and jewel like. It’s al metal construction and nickel finish is gorgeous and the lens is collapsible as well making for a very compact lens on any Sony camera. All you need is the Voigtlander VM-E close focus adapter, which is the Leica M to Sony E adapter. When using this adapter (which is a must) you use the adapters focusing mechanism to focus the lens. I keep my VM-E Close Focus adapter on the A7s all of the time as most of the lenses I use on it are M mount lenses. So snapping this guy on is no problem at all.

This is a file from RAW, NOT HDR. The DR of the Sony A7s is HUGE and the things you can do with one file is astonishing. Shot at f/5.6 and ISO 100

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and a crop from the above scene

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At $400 or so for the lens itself, it seems VERY inexpensive when you consider it is a small, well made collapsible f/2.8 prime that comes with a metal hood. metal cap, and smaller cap for those who do not want to use the hood. $400 is nothing in the world of lenses like this, and yes, this is very much like a Leica M mount Voigtlander lens. The lens gets more expensive when you add in the $300 Adapter but even so, at $700 it is a lens that after using it for a couple of weeks I wanted to keep. IN fact, I slightly preferred it to a mint+++ Leica 50 ELmar f/2.8 collapsable when it came to IQ, sharpness, and Bokeh.

WOW.

Using this lens on the Sony A7s (my Fave Sony A7 camera) I tested it in high contrast B&W JPEG mode. I love HC B&W and while I feel the Sony delivers TOO much contrast (as I found out when reviewing the images) the lens had no fault. It was sharp even when wide open and provided the typical Voigtlander Bokeh which delivers a classic look reminiscent of rangefinder glass. Click images for larger. Remember, these were in HIGH CONTRAST B&W JPEG mode on the A7s, so this is why they are so dramatic and high contrast!

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When I opened the box the lens was so tiny I was thinking…”this may not be a good lens”. Coming in at $400 or so, it seems like this would be an average lens with average optics. When I put the lens on my Sony A7s with the Voigtlander Adapter I was impressed with the build quality and feel. The collapsible action was easy and smooth, just as easy and smooth as any classic Leica I have used. When I twisted the aperture dial is when I was surprised. It is a clickless design so it is EASY to move. This was the only thing about this lens that I did not care for. There were 2-3 times when I thought the lens was at f2.8 and I later found out the dial slipped to f/22.

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I feel that they could have added clicks or at least made it a little stiffer.

After evaluating the build and feel I started to shoot with it..and I was very surprised by the performance in color and B&W. It was very nice..organic…flowing…and yes, it had some of that rangefinder glass rendering. I also found the lens to be super sharp at the focus point with pleasing Bokeh and contrast/snap.

Just a JPEG here but this was mid day in Phx AZ yet the lens rendered the scene in a non harsh way (think I had the camera set to VIVID)

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Here is an out of camera image set to f/2.8 – click it for larger. One thing I found with this lens wide open is that it will vignette slightly. You can see evidence of this in the photo below..

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The color is fantastic with this lens…

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The more I shot with the combo of A7s and this Voigtlander 40 2.8 the more I really enjoyed it. The color rendering was beautiful, and the bokeh was very pleasing as already stated. It is always nice to slow down and use a beautiful prime lens that is built to OLD standards. Standards that give you that solid and small build, smooth operation and great image quality overall. I could not believe how sharp this lens was, even wide open. It beat my Sony/Zeiss 35 2.8 which is larger, built to a lower standard, and is more expensive. The Sony has AF but this Voigtlander was a sinch to manually focus on the A7 series of bodies. I use focus peaking and I nail it 95% of the time. When the situation is more critical, like a portrait I may use magnification as well.

Click on this one to see a larger and better version. I focused on the eyes and having f/2.8 is just right for this type of shot as the eyes, nose and face will be in focus unlike using an f/1.4 aperture for a similar shot. This is right out of camera from RAW and was just a quick snapshot, INSIDE without any lighting or flash. NO problem for the Sony A7s, which is a master of ANY light. 

This lens is very nice for portraits…

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Putting it to the test…

I decided to bring the lens to my Southwest Road Trip which was AMAZING! Almost 30 of us embarked on a FIVE day journey aboard a fully chartered bus as we hit Zion National Park, Antelope Canyon and Sedona AZ. It was my best workshop/road trip EVER and if I ever do another one, this will be the one that all others are based on. It was fantastic. I shot the 40 2.8 for portraits and some scenic shots to give it a test and it never let me down though it did have the slight vignetting and in one case, flare. When points into the sun directly you will get some flare, much like the standard Leica 50 Summicron.

What I loved about this combo is that I could use it in any light with the Sony A7s even though the lens is a “slower” f/2.8 design and not an f/1.4. As I get older I am noticing that I am starting to appreciate slower lenses such as f/2.8 designs because it allows for great shaprness, easier focus and still some fantastic shallow DOF when used on full frame sensors such as the Sony A7 series. Below is a series of portraits I did in JPEG with the camera once again set to high contrast B&W. Again, you can use this setup in ANY light from bright to almost pitch darkness.

Yes, they are contrasty but this is due to the camera setting.

This first image was shot at ISO 8000 inside a somewhat dim restaurant. Shot wide open at f/2.8 and direct from camera. 

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Another in very harsh light but I like it. Wide open once again…

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…and a few more in the same lighting…all JPEG HC B&W on the A7s with 40 at 2.8

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 After using this lens and having so many see it and ask me about it I decided that I enjoyed it so much that I should buy it. I already have the $300 adapter so spending $400 for a gorgeous collapsible lens that gives stellar performance is a no brainer. It is small, it is gorgeous, it is stellar in its  rendering. It has three faults, or things that could have been improved upon…

  • The clicks aperture dial that moves too easy
  • It can flare if shooting direct into sun
  • It will vignette slightly wide open and it is noticeable on a full frame Sony.

Aimed direct to the sun (which was above the frame) the lens flared here…

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Other than that, I really feel that Voigtlander has been upping their game lately with the lenses they have released in the past year or so. This is another one that will go down in history as a beautiful and awesome Voigtlander lens. It gives us that little bit of classic (Vignette and Bokeh), little bit of modern (sharpness and pop) and overall a very nice and pleasing rendering.

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The quick bottom line on the Voigtlander 40 2.8 Heliar for the Sony E mount

If you want an old school looking lens with fabulous performance in color or B&W and you shoot with a Sony A7 series camera or even a Sony NEX or APS-C body, then this one is a cracking lens. The lens claim to fame is that it is VERY compact! When collapsed, it is only 12.6mm and when expanded for use it is only 21.4mm in length. As stated previously, it is usable on full frame or APS-C NEX cameras. The lens has a 37mm filter size and will close focus to .5m. I love the classic Nickel finish. If you do not mind manual focusing and slowing down, all the better. I found it easy to focus on the A7s and it was a pleasure to use. The 40mm focal length is interesting as it is in between the famous and classic 35 and 50 focal lengths. It took a few days of using it to really get where it was but after I got it I loved it :) Many of you know I really only review and recommend gear that I LOVE and would buy myself…and yes, I purchased this one for keeps!

Highly Recommended!

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Where To Buy?

Mine came from CameraQuest.com and you can purchase the lens or adapter at the direct links below:

Order the Voigtalander 40mm f/2.8 HERE

Order the Voigtlander VM-E Close Focus Adapter HERE

Order the Sony A7s (My #1 Camera since its launch) – at Amazon HERE or B&H Photo HERE

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PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

Hello to all! For the past 5 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple. 

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

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

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Nov 052014
 

rx1r

My RX1r Experience

by R.A. Krajnyak

Hi Steve and Brandon.

First, let me start off with thanks to you both for the great site and the work you put into it. Your site is an integral part of my daily web surfing routine and your insight, Steve, has been influential in my development as a photographer.

Secondly, let me thank you for turning me on to the I Shot It website. I was honored to be among the first nine runner-ups who receive their $20 entry fee back in the most recent B&W contest and was awarded a Mark of Excellence for the following photograph taken with my Sony RX1r:

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Lastly, I wanted to share my RX1r experience with you and your readers along with some images taken with this incredible camera. Anyone who is interested in viewing the images in this post at greater resolution can view them on my website in a gallery specifically set up with just these images. The smaller resolution here just doesn’t do this camera justice. The gallery is located here: http://www.quintaquad.com/Steve-Huff-Blog/n-dwFzN/

A bit of background on me. I’m 60 years old and have been involved with photography off and on for 40 years. My first good cameras were Nikon film SLR’s (Fm & Fe2). However my interest waned and they soon saw little use.

When digital came along I got the D40 and then the D5100. Like many enthusiasts, I ended up rarely taking my camera out due to the size and weight. About 1 1/2 years ago a friend of mine turned me on to the Sony RX100. I was blown away by the size and IQ along with the ability to shoot RAW. I began taking my camera everywhere and photographing everything. This piqued my interest in upgrading to a small interchangeable lens system.

I started researching on-line and discovered the M4/3 cameras as well as your site. I loved the size and IQ of the system and ended up with a Panny GX7. In addition, I have since added an Oly E-M10 which I love. I also discovered the Sony RX1 and was intrigued by it. However the price was out of my range.

Last October I received an unexpected small inheritance and decided to splurge on an RX1 or RX1r. I wasn’t sure which one but after researching further I decided on the RX1r. Your reviews were very influential in my decision. A year later I can truly say that I’m thrilled with my choice.

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The RX1r is in my mind a true classic…a small powerhouse FF camera with a fast, high quality 35mm Zeiss lens that is designed specifically for the sensor. The rendering of the Zeiss lens is gorgeous. You have aptly described it as “creamy” and I heartily agree. I’m not a pixel-peeping tech kind of guy nor am I into debating the quality of bokeh…I just know what I like and the RX1r definitely floats my boat when it comes to size, weight and IQ.

I added a few accessories that for me are essential…optional Sony EVF, Gordy leather wrist strap, Fotodiox grip and Fotodiox lens hood.

I shoot in manual mode but primarily use auto focus. Control layout is minimal and fairly well laid out. That being said I do have a few small niggles with the camera. AF could be better, I would prefer an EVF built into the body like the A7 series and I would like an articulated LCD. There is also a bit of a CA issue in high contrast situations such as foliage against a bright sky.

DR and low light high ISO is excellent (the David Grissom band image and my self-portrait were both shot hand-held at 3200).The quality of the noise is very pleasing and grain-like IMHO. I shoot strictly RAW so I can’t comment on JPEGs. The image detail is outstanding as is the RAW conversion out of camera color and contrast, although the last two things aren’t as important to me as I do extensive post work on the RAWs.

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The RAW files are extremely malleable which is important to me since post work is a major part of the overall photography experience for me personally and this is where the magic happens with this camera. I’ve been working with Photoshop since 1996 and have incorporated Lightroom along with Topaz, Nik and On One plug-ins as well. The RX1r files stand up beautifully under heavy processing. I love both B&W and color as you can tell from my photos. I’m not above doing extensive processing but I love a simple B&W image too. I just love all the different aspects and styles of photography in general. Due to my eclectic tastes I don’t focus on one specific genre…possibly to the detriment of developing my own signature style.

Many people think of the RX1/r as limiting because of the fixed 35mm lens. Not so in my experience. I find the RX1r to be fantastic for all kinds of photography in general from landscapes to macro. Granted it’s not useful for sports or birding but those are genres of photography that require fairly specific equipment in the form of long lenses. In addition to its versatility the RX1r is inconspicuous and quiet. I tried to select a wide range of photos to showcase what I think is the RX1r’s versatility.

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My favorite subject is my 90 year old mother who suffers from dementia in the form of severe short term memory loss and lives with me. We go walking every afternoon on the local nature trails and afterwards stop at the local coffee shop for hot chocolate or coffee. I always take my camera with me and document our walks. Although I only included three images with her as the subject (the portrait of her, the image of her in the straw hat from behind and the image of her hand on the gear cog) you can find many photos of her at my website, particularly in the two galleries, The Memories Of Margaret V. and A Walk Through The Seasons: Portraits In Dementia.

The first is highly processed, conceptual composite images while the latter is simple B&W photos. Both are photo essays meant to be viewed as an whole rather than as individual images. Note that not all the images from those were taken with the RX1r. The Memories gallery also contains a video of the images with an accompanying music track which was written, played and recorded by me as well. Unfortunately the image quality isn’t that great due to SmugMug’s video size restrictions.

I’ll end by saying I enjoyed your recent article about what you’ve learned from street photography. I had to laugh when I read the line about photographing what you love even if it’s flowers, trees and leaves. Those are three of my favorite subjects, in particular leaves. But the advice rings true…photograph what you love and forget about what others think. That’s not to say you should ignore criticism. On the contrary, constructive criticism is how we learn and improve at our craft. But take criticism with a grain of salt and stay true to yourself, not worrying about what others think. Never hesitate to take chances and stretch yourself in order to grow.

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Thanks again for all you do for photography and for the opportunity to share about the hobby and camera I love.

R.A. Krajnyak AKA QuintaQuad

quintaquad.com

Oct 312014
 

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From the Leica M9 to the Leica M240…and Back to the M9

By Ashwin Rao – Follow him on Facebook HERE

Hello my friends. It’s Ashwin, back to talk about my recent GAS (Gear Acquisition Syndrome) journey with Leica. I have been a huge fan of both the Leica M9 and Leica M Monochrom over the course of the life cycles of these cameras. I have always enjoyed the rangefinder way of seeing, from the time I first came upon my very first rangefinder, an M6 TTL. I joined the digital rangefinder transition, as did many others, with the Leica M8, and while that camera had many benefits (incredibly clear and crisp sensor), it was not quite ready for prime time due to its IR sensitivity issues and operational foibles, all of which have been well documented. That being said, many Leica M8’s remain in service today, over 8 years after it first came into production in September of 2006. The Leica M9 was released to much fanfare on September 9th 2009, heralded as the first full frame digital rangefinder, featuring a high quality CCD sensor with the same pixel pitch as the M8, and some cosmetic and operational refinements. The infrared sensitivity issue ,which plagued the M8, was mitigated for the M9, and for many, it is considered a modern legend of digital photography. I received my first Leica M9 in December of 2009, and soon thereafter wrote my first article for Steve, reviewing the M9 and a “travel camera extraordinaire.” 5 years later, I believe those same words hold true. The Leica M9 remains a remarkable camera, capable of capturing the decisive moment and motivating the eager photographer.

Leica M9 and 50 mm f/1.4 Summilux-ASPH

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M240 and 50 mm f/1.4 Summilux-ASPH

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Leica M9 and 50 mm f/1.4 Summilux-ASPH

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With time comes progress (right?) and in September of 2012, Leica announced the Leica M240, or in short, the Leica “M”, the first full frame sensor to feature a new CMOS sensor, which would permit higher ISO shooting, and importantly, live view. In theory, the Leica M240 boasted many performance and design refinements learned from the limitations of the M9. It also allowed rangefinders to compete with other modern cameras in providing an option to focus lenses with live view and it can shoot video. For many rangefinder enthusiasts, particularly those with aging eyes and a large collection of R lenses, the M240 represented an option by which to focus more accurately and use their R lenses, which have not been supported by a modern digital Leica R.

Like many, I was very curious when the M240 was launched. I kept a close eye on those who were able to use the camera early in its production cycle, such as Steve, Jono Slack, Gary Tyson, and others. As the camera became more widely available, I regularly browsed online photo forums and facebook enthusiast pages to find compelling images and reasons to justify upgrade….this process was a year long journey, and one accompanied by great struggle. I truly loved my M9, the “CCD look” that I perceived to be true, and had truly bonded with the camera over years of use, but new cameras are always compelling and entice the prospective buyer with the promise of new features and improved image quality. I also struggled with the concept of investing another $7000 in a camera, when I had just done this a few years back.

Leica M9 and 35 mm f/1.4 Summilux ASPH pre-FLE

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Finally, in the spring of this year (2014), I purchased the M240. It was a harrowing, yet exciting moment. In the year that I had debated whether or not to purchase the M240, I remarked that the color palette, dynamic range and look of files from the M240 was vastly different M9 files. Initially, the M240 seemed to be plagued by inconsistent white balance, but over the year, through firmware upgrades, Leica seemed to improve upon this. Yet, the colors coming from the camera, and skin tones in particular, seemed so different, warmer and more red/orange (a common problem with CMOS digital sensors, by the way), than what I had accommodated to with my M9, which provided a seemingly cooler skin tone profile. As I reviewed images, I came to compare the M9 and M240 images to different image stock. Ultimately, I was compelled to try the M240 to see if I could adjust to this different way of seeing.

M9 and 50 mm Noctilux f/0.95

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M240 and 50 mm APO Summicron-ASPH

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In the process of buying my M240, I quickly sold my M9 to be able to focus on one color rangefinder option. I set into getting to learn my camera, and was able to have the M240 around for a very important part of my life, that is, my wedding and the months around this event. I managed to shoot the camera regularly.

What were my conclusions, you might ask? What was my conclusion from this costly experiment? Well, the title of the article summarizes the basic experience, but let me elaborate. I simply couldn’t get used to the M240 and I could not find a bond with the camera. First, and most challenging for me, was the color reproduction of the camera and its inconsistent white balance reproductions under artificial light, particularly in rendering skin complexion. I often found skin tones to render excessively yellow or orange, and I simply could not find ways in Adobe Lightroom, to get skin tones to look as I enjoyed. I could get close, but adjusting skin tones would often affect the color reproduction of the rest of the image. Apparently, I had accommodated to the look of the M9, and I could not get close enough with the M240. Second, and disappointing to me, was an issue with banding at higher ISO’s. Whenever I took a shot that was underexposed, lifting the shadows resulted in noticeable banding at ISO’s of 3200 and higher (and occasionally at ISO 1600). I was able to remedy the banding issue using software fixes (Nik software’s has a de-banding tool that’s very useful). In practice, shooting in low light was nearly as limited for the M240 as it was for the M9, which has a practical ISO limit of around 640, after which banding behaviors are the norm with image adjustment.

M240 and Summicron 28 ASPH

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Leica M9 and Noctilux 50 mm f/0.95

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For the M240, I also struggled mightily with the “start up time” of the camera. When powering the camera on, it takes about 2-3 seconds before the photographer can actually take a shot. Initially, I thought this was a camera defect, but trying a few friends’ M240’s, I found the behavior to be universal. I tried to remedy this by leaving the camera on all of the time, given that the M240 sports a much-improved battery than the M9. However, after prolonged periods when the camera went back to sleep, I noticed the same lag. There were several instances where I missed an important shot , and this became an increasing turn off as I used the camera more.

M240 and Noctilux f/0.95 – Lauren

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As I used the M240 more, I became increasingly aware of the weight of the camera. At first, I felt that the camera felt more confident, more solid, less “airy” in hand, but after some time, I found the added bulk to be unwanted. My shooting arm would get sore. Not a huge deal, but enough of a difference to be annoying. After all, there was an outcry when the M8 and M9 were built with much thicker bodies than previous film M bodies, and here was a camera that provided even more bulk and heft to a shooter (myself) who valued size and discretion in his camera.

M240 and Noctilux f/0.95 – Andi

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M9 and Noctilux f/0.95

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Finally, I became increasingly annoyed over time with the menu layout. I wasn’t entirely sure when to press the “Menu”, “set”, and Info buttons. It was not nearly as intuitive an experience as to how best to adjust settings on the fly as it was with the M9. Even the ISO adjustment methodology seemed more cumbersome to me, who had gotten used to the simplicity of the M9’s menu and button implementation. The M240 had new buttons in unexpected places, and on occasion, which thought I was capturing images, I had accidentally triggered video shooting.

M240 and 90 mm f/4 Macro Elmar

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M9 and Rigid Summicron 50 mm f/2 (v2)

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As you read this, you may feel that I am unfairly bashing the M240, and that with more time, I would have adjusted to the cameras many quirks. While this may be true, I kept coming back to my struggles with the M240’s image rendering. As I looked on my screen at old M9 shots, and compared them to the M240 images that I had captured, I took note of several things. I find the M9 to have rendered a more “crisp” pixel, while the M240 renders a slightly softer pixel. Further, the M240 renders with much more dynamic range, but for some reason, images taken with this camera seemed to exhibit less 3D pop that I saw with my M9.

In summary, I began to find reasons to return to my Leica M9, and in August, after 4 months, I sold my Leica M240 and returned to the M9. I can say that I am happy with this choice and much more settled with keeping the M9 and its awesome CCD sensor and way of rendering.

Well, I spent a lot of time bashing the M240, no? Let me bash the M9 for some balance. The M9 is a camera full of quirks and deficiencies. First off, it has a completely inadequate and dated 200,000+ pixel LCD. It was an out of date LCD the moment it was released, and 8 years later, it’s ridiculously poor…One cannot count on confirming clear focus with the M9’s LCD. Further, there’s a slight delay between when the image snaps into focus on the LCD, making images seem blurry for a moment.

There are times when the M9 freezes operationally and won’t take a shot. And I don’t just mean when the buffer is full. At times, I have missed important shots because the M9 simply refused to take the shot. Further, battery life is quite poor (300-400 shots), compared to the far improved M240 sensor. The M9 has an ISO limitation that stems from its CCD sensor. It’s only capable of being shot reliably through ISO 640 (or 800 if you are willing to live with lost dynamic range, muddier images). Compared to today’s sensors (think Sony, Fuji, Olympus, and Panasonic), this ISO limitation seems arcane. Compared to the M240, which offers clean ISO’s through 1600 and inconsistent but occasionally decent performance at ISO 3200, it seems old as well. Yet, at base ISO through ISO 400, the M9 offers something unique. It offers a lovely color palette. Images, particularly of people jump off the screen. Skin tones and rendering can take on a lifelike look, while the M240 occasionally presents skin tones in a waxy (CMOS) manner. You’d never see this on your cell phone or laptop monitor, but on a calibrated larger home monitor or large print, there’s a difference there that’s continued to be noticeable to me.

Ultimately, I came to accept the limitations of the Leica M9 to gain its benefits. The M9 turns on and is ready to shoot instantaneously. It’s silent shooting mode is cleverly implemented and useful when employed. It’s a lighter and airier camera and is less fatiguing to hold in the hand for prolonged shoots. It’s menus offer operational simplicity, which seems to echo the rangefinder way of seeing. It’s CCD rendering (yes, I believe that the CCD “look” is real…sorry to all of the naysayers) is awesome and increasingly unique in a world where CMOS sensors have taken over.

I believe that the Leica M9 continues to represent the pinnacle of Leica’s imaging achievement. Like many countless others who’d hope for a camera that offers the best of all worlds, I strongly suspect that such a camera will never materialize. I doubt that there will ever be another CCD-sensor Leica. And thus, I am “stuck” with the M9, and of course, my beloved Leica M Monchrom. For those times when I desire revelatory ISO performance, I have moved to the Sony A7s, which I have used extensively (nearly exclusively) with Leica M lenses, and I find that its limitations (primarily the 12 megapixel sensor and tunnel view SLR way of seeing) don’t bother me all that much. The Sony is not built anywhere as confidently as the Leica (in terms of feel), but it’s a great camera worth checking out for a modern CMOS option. IT’s colors are not Leica colors, but I have found that I can get skin tones that I like with this camera.

Leica M9 and 35 Summuilux FLE

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Leica M9 and 50 mm f/1.4 Summilux ASPH

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Thus, for me, the Leica M240 is now part of my photographic past. The Leica M9 has returned to my kit. It represents my photographic present. I certainly hope and expect that Leica will continue to re-invent itself with new innovative products and improved rangefinders. The Leica M240 was not the right camera for me, but I hope that the next iteration will be a better fit. At that time, the M9 will remain with me. It’s a lifetime camera, unless Leica finds the guts to go back to CCD or a sensor the renders similarly. It offers a unique rendering that blends so well with M lenses. It’s a great option for photography, even today.

M240 and 50 mm APO-Summicron ASPH

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I imagine that many of you will take exception to my thoughts and comments. I welcome your thoughts, your debate, and your criticisms to this argument. It simply represents my opinion and current thinking on the matter.

Here’s a summary of what I consider the strengths and weaknesses of the 2 cameras discussed:

Pros of the Leica M9
• CCD sensor – per pixel microontrast and dynamic range at low ISO
• Menu and operational simplicigty
• Weight
• Heft
• Instant On
• Silent shooting mode

Cons of the Leica M9
• ISO limitation
• Rear LCD is terrible
• Poor battery life
• Indoor and outdoor white balance inconsistency
• Reduced dynamic range compared to modern sensors
• Occasionally the shutter doesn’t fire
• IR sensitivity is still there, though less so?

Pros of the M240
• ISO improvements (though banding limits realistic ISO to < 3200, and in some cases, 1600
• Moderate Dynamic range improvement
• Solid battery life
• Build Quality
• EVF capacity, for those who want it
• Much improved shutter sound and less shutter shake
• Fantastic Black and White Conversions

Cons of the M240
• Heavier
• Meno complexity and dials
• Adds complication to a simple RF concept (i.e. video, EVF, etc)
• Unnatural Color reproduction of skin tones
• Indoor white balance inconsistency
• Shooting lag, when camera is first activated
• More IR sensitivity?

Feasible areas of improvement for the next Leica M:
• Improved color stability for white balance
• Improved color rendering of skin tones
• Reduced banding artifacts for high ISO, particularly when adjusting images
• Baseplate access to the battery and SD card
• Make the camera thinner, rather than thicker
In fairness to bias, my time with the M240 was self-limited to 4 months. My time with the M9 has extended to nearly 5 years. There may be much in that difference in experience that may explain some of my experiences with these cameras. All the best to you, and most importantly, keep your hand on the shutter and keep making images, regardless of camera.

M240 and Rigid Summicron 50 mm f/2 (v2)

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M240 and 35 mm Summilux ASPH FLE

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Oct 302014
 

cams

Which one? Sony Zeiss 35 2.8 FE and the Voigtlander 40 f/2.8 Heliar

HELLO TO ALL OF YOU PHOTO AND GEAR NUTS OUT THERE!

I posted a very 1st quick look at the new Voigtlander 40 2.8 Heliar a few days ago and one question was: “Why would I want this when there is already the Sony 35 2.8 Zeiss lens that has Auto Focus”?

My answer to that is that not everyone will! Some of us NEED Auto Focus and others much prefer a mechanical old school lens with a solid build, gorgeous appearance and the fact that we need to manually focus the lens! When you have an old school (but brand new like this lens is) lens on the Sony A7 series of camera, manually focusing is not only very fun, it is also a way to slow you down, take your time, calculate your shots. It is an alternative to the quick AF snaps we so often do. It will have us looking more and taking our time with the composition.

In other words, I much prefer a solid manual focus lens over an AF lens when using the A7 series. Especially M mount glass, classics and new lenses alike.

The Voigtlander 40 2.8 is TINY but hefty and solid. It has a Nickel finish and looks amazing. The sharpness? Just as sharp as the Sony/Zeiss at half the size and cost. All you miss out on is Auto Focus yet you gain small size, solid build and a much more beautiful lens to look at..as well as a $400 savings.

Below is a video I made on the two lenses with my thoughts on them and after that a quick comparison shot with full size images direct from RAW from the Sony A7S. Also in the video you will see the striking new strap from Artisan & Artist, which is their new ACAM-310 silk strap. Also, the wooden sticky shutter release from Artisan Obscura and the shiny metal buttons on the back of my A7s from rluther.com. 


This is how each lens performed on the camera, and I let the camera choose exposure for each lens to show how each lens will behave on the camera. They are similar for sure..both are sharp yet each lens made the camera expose slightly different. I also see more of a 3D look to the Voigtlander lens. Both of these were shot wide open at f/2.8. Click them for full size.

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So which one is for you? That is easy..the one you feel most drawn to! Do you need AF? If so, the Sony is the one! If you prefer manual focus and some old school charm, plus a smaller and better made lens, the Voigtlander is the one to beat. :)

Where to Buy?

You can order the Voigtlander 40 2.8 at cameraquest.com HERE

You can order the Sony/Zeiss 35 2.8 at Amazon HERE

You can order the cool all wood sticky shutter release at Artisan Obscura HERE

You can order the Shiny Buttons or read about them HERE

Oct 292014
 

nikoncool1

First Week with the Nikon Coolpix A

by Julien Hautcoeur

Hello Steve,

I’m Julien Hautcoeur from Bust it Away Photography.

You posted one of my blog posts that I sent to you last February about the Voigtlander 40mm F2 Ultron.
Thank you very much for that; it was very nice.

I wanted to share with you the rest of my experience. I still have the Voigtlander 40mm and I love it so much that I also got the 58mm f1.4 to add-on my D700. As I really love wide angle lenses I was thinking of getting the Voigtlander 28mm f2.8, which is the same size as the 40mm. But even if those lenses are pancakes and make my D700 less bulky, it is still not a very pocketable solution.

After hours of thinking and hesitation (as usual with cameras) about getting the Voigtlander or an other alternative, I found a refurbished Coolpix A for a very reasonable price.  When this camera was released last year I went to see and try it in my local store and I really liked the feeling.
It is a robust and very small camera with a high quality sensor and a nice 28mm (FX equivalent) f2.8 lens.  It’s only problem is its price which is debatable.

Anyway, the refurbished price was low enough to make me order it and I received it just before a two-day trip in a yurt in the middle Gatineau Park close to Ottawa, Canada. I took it with me and decided to only use this new camera. I had the D700 in my bag in case the Coolpix A’s battery would be too short, but finally I got enough to cover the whole week-end.

My experience with the Coolpix A has been really great, the biggest advantage compared to my DSLR is definitively that I don’t disturb people, it is very quiet and discreet in my hand. My main concern was the AF, but by using the Fn1 button set on AF-ON it is quite responsive and I have been satisfied with it.

The most important point is that I got pictures that I am happy with. The 28mm if wide enough to be close to people and to get that life feeling.  It also captures beautiful landscapes as well as details. The low Iso are very clean, and I used it up to 2000 Iso. The color pops and it fits quite well in my Nikon D700 flow. You probably understand that I’m happy with my choice.

The Coolpix A won’t replace my DSLR, but it will be my little camera option for my every day photo opportunities: 28mm on the Coolpix A and 40mm on the D700.

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Thank you
Regards,

Julien Hautcoeur @ Bust it Away Photography

http://bustitawayphotography.com
https://www.facebook.com/BustItAwayPhotography
http://bustitaway.tumblr.com/
http://www.flickr.com/photos/bustitaway/

Oct 272014
 

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The SLR Magic CINE 10mm t/2.1 Lens Review

by Amy & Tony Medina

Generally, I’ve really enjoyed the SLR Magic lenses, as I already own the 23mm f/1.7 Hyperprime and 35mm T/1.4 CINE, and use them on my Fuji APS-C cameras often. When Steve asked me if I wanted to review the new SLR Magic CINE 10mm T/2.1 for Micro 4/3, I jumped at the chance.

To start with, I think that overall, if you’re a fan of SLR Magic lenses, this one will not be a disappointment.

The time I spent with this lens, I shot it primarily on the Panasonic GX7. They paired well, but I think on a slightly bigger body it would be every better. My husband paired it with the GH1 for video, and he thought it balanced on the camera really well. SLR Magic lenses in general are well built, and they aren’t what I would call light. They have a nice heft to them, and they pair well with bodies like the Fuji XT1, Olympus OMD-EM5 and the Panasonic GH Series that themselves aren’t the smallest of the mirrorless cameras. It did work well on the GX7, and I’m sure it would feel good on equally small bodies… I just think they pair better with bodies that seem a touch more solid themselves.

One nice feature right off the bat that those of you with SLR Magic lenses will appreciate… no screw-on cap this time. Finally! It was your typical snap-on-type lens cap. Ya know, sometimes I like the fact those screw-on caps stay put, but most of the time I find them to be a royal pain in the butt, so I really appreciate a “normal” lens cap on this one.

Call it a pet peeve, but it really irks me that not all SLR Magic lenses are built the same. Some have the f-stop (or t-stop) control on the outside ring, furthest from the body… others have this ring closest to the mount. When I switch back and forth between their different lenses, I find this quite annoying! As a photographer, to me all f-stop dials should always be the furthest one from the body. Of course, it’s mostly just a minor annoyance, and it’s not something that would keep me from buying the lens, but I just wish they were ALL made with the f-stop control in the same place.

As for image quality, there were no surprises. I feel like I know what to expect with SLR Magic lenses, and that consistency carried through to the 10mm T/2.1 CINE.

SLR Magic lenses have that wonderful character they’ve become known for… a bit of a dreamy retro look around the edges, but nice and sharp in the middle. Typically, they shoot just a little flat.. they aren’t super contrasty lenses straight out of the camera, but they grade beautifully and just have so much charm. I find their color rendition quite neutral — not too warm or too cool — and I’m never disappointed with the images I get out of their lenses… it was no different with the 10mm T/2.1. I was very pleased with nearly every photo I took with the lens.

First one is straight out of the camera, the second is post-processed to my taste…

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In my opinion, SLR Magic lenses perform okay stopped down, but that isn’t why we buy them. Sharpness edge to edge, that’s not usually the priority of the SLR Magic user. These lenses are really meant to be used wide-open, or more on the open side of things, where they shine and show their unique personality. They provide excellent subject isolation while delivering a lovely “magic” image quality.

The front element is rather large (77mm in diameter), which isn’t a surprise on such a wide lens. Of course, that seems to make it a little prone to flare. However, I find the flare itself to be of the attractive type, and I have the kind of personality where I like to use flare to my advantage to enhance a photo. With a lens like the 10mm T/2.1, where I find the flare so pleasing, I’m often tying to introduce it rather than eliminate it.

It’s up to you whether you want to let that flare creep in or find a 77mm wide angle lens hood that will work to keep it out. The lens does not come with one.

A bit of flare…

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I can’t say 10mm is my favorite focal length on micro 4/3, but that’s a really personal thing honestly. Sometimes I did find it a bit awkward… but that’s no shocker when I tend to gravitate more towards the normal focal lengths from 35mm to 55mm (full frame equivalent), or I go for the ultra-wides, like 15mm. 20mm, to me, is just at that point a bit in-between.

Now, my husband on the other hand, when shooting some video tests, loved that it was right there in between… he told me that he liked that it didn’t give that overly distorted look that ultra wides often do, but certainly gave a wider, much more unique perspective than lenses in the mid-normal range.

What’s interesting is that we often disagreed a bit about this lens: some of the things that I would criticize are things he would really liked. An example is that he loves the clickless aperture dial, where that’s one of the things I generally don’t like about SLR Magic lenses (I think I even mentioned that in another review here on Steve’s site). But seriously, that’s not at all unexpected when it comes to a photographer’s vs. a videographer’s opinion.

It’s part of their CINE line of lenses of course, which means it’s optimized for video and has some of those built-for-videographer features, like click-less aperture and a focus ring that will mate up with follow-focus gears. The focus throw is smooth as silk, and comfortable for shooting both photography and video.

For my husband, the wide angle helped minimize shakiness when hand-holding the camera, and having a lens so wide, but also fast, can make for some really cool shots.

All of the footage below is just test footage shot by my husband, and we thought we’d share it. It has been color graded a bit… but most serious videographers will appreciate that rarely are you using footage that you don’t color correct and enhance.

This was all shot on an original GH1.

 

In conclusion, the best way to express how much we both think this is a great lens is to share that we indeed plan to buy it.
For me, even though the focal length was a little “in-between”, I think I can find use for it in my growing arsenal of wide angle lenses that I use for work. And since my husband and I will share it, and he loves it, the biggest downside will be us fighting for it when I want to use it. LOL

As I started off by saying, if you’re an SLR Magic fan already, there’s a lot you’re going to like with this lens. It delivers exactly the way you’d expect it to. It’s wide without being fisheye-distorted, and it’s fast to let in tons of light and allow that great depth of field control.

Overall, it delivers quality images with tons of personality — exactly what we’ve all come to expect from an SLR Magic lens.

 

You can purchase this lens at B&H Photo HERE.

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Oct 202014
 

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Portraits from the Pub with an Olympus E-M5

By René van Wijck

Hello!

After many years of making photographs I got a little bored by it and I lost my inspiration.

Two years ago I bought myself the Olympus OMD-EM5. This little machine changed my life! It was and is such a pleasure to work with that I have it all the time, wherever I am with me.

I work as a bartender downtown Rotterdam in Holland and started to make pictures of my guests. They all come alone to the pub, and most of the time leave alone.

I gave myself a few rules: no color,no flash,no drinks in the pictures. Most of them I shot with the 45 mm 1.8. I’ll hope you like the results!

You can see more of it on flickr.com/photos/renevanwijck

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Oct 162014
 

LESSONS

Three lessons I have learned from shooting the streets.

By Steve Huff

Street Photography has enjoyed a huge resergance in recent years. With the many blogs writing about it, workshops showing others how to do it, and the constant barrage of street shooter hobbyists sharing their photos, street shooting has seemed to meld into all sorts of things, much of the time having nothing to do with the old school style of which most everyone was inspired. My favorite street photographs of all time were shot by none other than Vivian Maier. Not only are her photographs very special, they bring back memories of a time before I was even born. The cool part for me is that her amazing street photos were all shot in my hometown of Chicago, giving me a glimpse of the people of the past. If you are not familiar with her story, I urge you to watch the documentary “Finding Vivian Maier”.

I consider Vivian’s work to be more than “street photography” as many know and practice it today. I see her work as something special, something magical and more along the lines of “street portraits” much of the time. She loved shooting people and she had a talent for it that many of us (including myself) do not. As I browse through the book of her work “Out of the Shadows” (which I HIGHLY recommend, amazon link HERE) I am over-run with emotion as I am taken back to the past, to slices of life that we will never see again. Because Vivian captured this fraction of a second on to film, a memory was made. A time capsule if you will. I have said many times that we already have a time machine here on earth, and it is called a camera. While we can not physically go back in time, looking at old photos will take us there in our hearts and minds. A camera is a powerful tool when used in the right way.

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When I started shooting street images I was horrible at it (and still consider myself a street hobbyist with so much to learn). I was fearful to let anyone know or see that I was taking an image of them. I was afraid to lift it up and make eye contact with the subject, and I usually came away from a day of shooting with nothing to show for it. Eventually I told myself “you must never fear taking a photograph”! Fearing the actual act of taking a photo was killing my passion for photography and that was not good. If I wanted to get out on the street and snap those special moments, those slices of life, the people I meet and those time capsule memories…then I needed to just do it and NOT think about it.

*The 1st lesson I learned is to never fear shooting in public. Just do it, and act as if it is as natural as looking at someone and giving a smile. But also you must use your instincts as to WHEN and when NOT to shoot.*

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After a while I realized  there was absolutely nothing to fear when out shooting people out in public. 99% of the time I get a smile back, a nod or a grumpy face but never have I been attacked and I think that comes from my instinct. What I mean by this is that after a while you start to get an idea of whom to approach, who to raise your camera to and who NOT to do this with. I can sense if someone will have an issue with me taking their photo, and in these cases, I skip it. Many will say “take it anyway” but I believe in respect when shooting on the street in public. I also believe in some sort of acknowledgement if you want a “street portrait”. Not setting up the scene but making sure the person is OK with you taking their portrait.

Rio Brazil: Saw this happy smiling man sitting on the street and sat down to chat with him for a while. He did not speak English but he wanted me to take his portrait after he saw my camera, so I did. For me, making a connection to strangers is one of the appeals of taking street portraits. 

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Las Vegas NV: I noticed a rowdy bunch of guys on the street selling nightclub tickets so I walked up and asked if I could grab a shot of them. When I approached I was calm, cool and confident as confidence usually gets your subject to feel comfortable. Below you can see the shot and below that shot is an image of me taking the shot :) Shot using the Leica Monochrom.

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Walked by this Security guy who was directing traffic and people on the strip in Vegas. I passed him up then decided to walk back over to him. I made eye contact, nodded my head and snapped. It all happened so fast he said “you did not give me time to smile” 

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Many times I will sit down and chat with whoever I want to take a snap of. If they are OK with me shooting them after this, I will. If not, I thank them and wish them a great day.

*So the 2nd lesson I have learned for my style of street shooting is “be respectful to all and use your instincts”. Usually when you do this, you will also be respected back instead of someone getting angry and wanting to tear your camera away and smash it.*

Not all street scenes are portraits of course..all depends on the scene. Many like to catch human interactions and be invisible to the subject. I have seen some astounding images shot in this fashion from others and it is also a style that is nice to take on, but it requires patience. Many street shooters I know who shoot in this fashion will stay in one spot for hours..waiting for the one moment where they will get a nice shot. While I prefer human interaction, I do not always have a chance to chat first, and when this happens I just shoot.

When shooting street it can take years to be able to develop your senses or how to “see” things worthy of a photo. I am no expert on this, not even close but I have learned over the years that you should always keep your eyes peeled as many things happen in a split second while other situations need to be observed for a while.

*The Third thing I have learned is learning how to “see” and “observe” as things usually move quick on the streets*

Rio, Brazil: Seeing this elderly man sit down on the bench I observed his actions for a while. He was just sitting there like a statue for 10-15 minutes, moving very little in this time. What I saw is a man, sitting like a statue next to a real statue. The three younger ladies behind him were enjoying the Ocean view in Rio while this man may have been looking back on his life while listening to the water. 

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St. Petersburg Russia at Midnight (yes midnight) – Saw this couple ready to kiss with the midnight sun behind them and the boat chugging along..raised my Leica M9 and shot. For me this captures the romance of this city perfectly.

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Recife Brazil: This woman was not the friendliest looking person but who knows, she may have been sweet as pie. The look on her face tells me she may punch me if I snap, but then again, maybe not. I wanted to get a profile but as I snapped she looked behind her. This is not a technically great photo but it is edgy. I was recently asked if I like “Beauty” or “Truth” and I always say “TRUTH” as that is reality. Beauty and fake beauty is everywhere but truth trumps all. 

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Seattle: Saw this girl having a great time on the beach. The sun was setting and the weather was amazing. Wanted to catch her laugh to show that in this one moment in time, this person was having a great time in their life. Happy and full of life. 

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Inside of a truck stop somewhere in middle America: Was eating lunch when I saw a kid outside the window begging his grandmother for money so he could buy a toy he saw inside the shop. She refused at first, telling him NO NO NO! She then relaxed, pulled out a smoke and gave him her coin purse. Seems the cigarette gave her some peace :) I was watching the interaction take place for a while before deciding to snap a shot.

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Berlin Germany: While in Berlin I saw this couple cuddling and holding hands so I followed them down the street for one minute. At a street crossing I saw her embrace him and right after I shot this she smiled at me as she knew I captured some love right there :) 

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New York City: Hanging around NYC was a blast and it is a street shooters dream. I love this one that I caught of a man coming out Penn Station

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Rio Brazil: A woman massaging her man’s neck and back as she whispered sweet nothings to him. They acted like they were all alone and oblivious to the surroundings. I squatted down, snapped the shot and afterwards the guy looked and gave me a  thumbs up. I was alone on this walk in Brazil with my Leica and never hesitated to shoot.

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Scottsdale AZ: At a bar just before Christmas I was greeted by a dog at the bar. He was shaking everyone’s hand who came in and was just like an old bartender, but friendlier. I had to snap this hand shaking dog so I could always remember the laughs we had that night. 

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Berlin: Shooting people on a bus can be interesting. This woman looked deep in thought and I wondered what she was thinking about..of course I will never know that, or her, but I like the photo. 

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Somewhere in Brazil…another Bus shot. 

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Rio: I was eating lunch at an outdoor cafe near the beach when I saw these two guys. I raised my camera, gave them a nod and they gave me a pose :) 

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Seattle: A street performer who has been here for a long time singing to all of the tourists…

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Berlin: I saw this man riding a bike with some pretty nifty socks.Had to get a shot.

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While walking down the street I saw  these two parking attendants arguing. Usually one would stay out-of-the-way of  two guys getting into an argument but I snapped without them knowing until AFTER I snapped the shot. They were cool with it and ended up laughing at themselves in the end. 

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Seattle: Seeing this little boy skipping, dancing and enjoying an apple at the Gum Wall. I snapped when he looked over at me as he was taking a bite out of his apple

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So basically the moral of MY story is when I dropped the fear of taking images of strangers, and when I learned to use my instincts of when and when not to shoot and when I learned how to “see” better it all added up to improve my street photography to a higher level than when I first started. While I have lots to learn, and I do not do too much street shooting these days, I always have fun with it, which to me is the most important! If you do not have fun with photography then it will get old..fast. So always shoot what YOU enjoy shooting, even if it is flowers, leaves or trees. Whatever makes YOU happy is all that matters!

OF COURSE there is much more to it than those three things but that is a good starting point. Also being comfortable with your camera and lens will help you along the way. ;)

Recife Brazil: Two girls on the beach. This was late night and I was out with my M9 and Noctilux. When they saw my camera they said “TAKE OUR PHOTO”!! To me, this is what it is all about..interaction with others, having a great time and nailing a nice photo to take you back to that moment.

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SMILE! This one was taken somewhere in Seattle and she loved having the attention and her photo taken :) 

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Talin Estonia: Shot this girl on the street during an early morning walk

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To those who want to get better at shooting images on the street can start with losing the fear of shooting strangers, learn to develop their eye and how to observe and also to be respectful to those we approach and want to photograph. Most of all, have fun.  While I will never be a master of the street. I have loads of fun doing it :)

Steve

Oct 102014
 

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1959 Rolleiflex 2.8E – Shooting family, friends, fashion and famous!

By Andy Jackson

Hi Steve,

Thanks for all your great dedication to your site bringing us all sorts of articles, new gear, digital or film and your never-ending enthusiasm! So, about four years ago you published a Daily Inspiration from myself, shots from my Leica CL. The images were mainly of my son, who was about 2 years old at the time. After reading your write up on the Rolleiflex Hy6 (which to be honest, I didn’t even know existed!) I thought I could do a User Report on my 1959 Rolleiflex 2.8E.

My friend Ludi – this was shot on Rollei Retro 400.

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I’d shot film/transparency for a long time as a photographer working on a snowboard magazine and acquiring the Leica kind of reignited the idea of shooting analogue again. This time I was more interested in shooting black and white and was partly inspired by another article on your site by Max Marinucci about home processing. My late Uncle also had an influence on me from an early age, with his camera in hand, his slides and his black and white prints of me as a kid. I’d done darkroom work at my first job many moons ago at a design company in London, so I knew how it went, but had never done it at home. Having bought the necessary bit and pieces and some chemicals (totaling €80!) I started to develop the negatives from the Leica. Yup, the same grin factor as getting my transparencies back after a snowboard shoot but with the extra satisfaction of doing it myself! Now, I’m not even going to go into the practicalities or convenience factors of digital over film, as to be honest, as you said in your article “Analog is a different beast than digital in almost every way.” If I’m processing film or going through a digital shoot on the computer I like to get ‘in the zone’ – cup of tea and some decent tunes on the stereo and off I go!

Branko from Croatia, I used the Rolleinar close-up lens for this.

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My good friend Doris, a yoga teacher. We’d been for a hike on the mountain and I had the 2.8E in my bag along with a Hassy 500cm, this is from the Rolleiflex.

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So on to the Rolleiflex! After searching around on Fleabay and websites and doing some homework I realized I was going to have to spend a decent amount of money for a good one. At the same time I bumped into a friend here in Innsbruck who’d seen some of my film shots online. He told me his mum used to be a professional photographer and that she had a few old cameras left from her working days. I asked if any had two lenses on the front, he said he seemed to remember playing with something like that when he was a kid and he’d ask his mum. Two days later he calls me and tells me she still has her old Rolleiflex. He gives me the serial number and I track it down to a 1959 2.8E. Oh yes, the Carl Zeiss Planar. He’d been online and checked out the prices, not cheap really, a good one is at least €1000. He offers to sell it to me for €250 – I can hardly contain my excitement. So, off I go to meet his mother, she’s actually thrilled to be able to sell it to someone who’s actually going to use it, it’s been doing nothing for about 40 years. As you can see from the shot, it’s in pretty good shape. I sent it in for CLA to a company in Salzburg, it needed some work, lightmeter was replaced and some bits in the shutter – €400, so in the end I still have a sweet deal and the camera stays in the area.

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Preparation and handling.

The Rolleiflex is not a heavy camera. It fits nicely into my Lowepro Event Messenger 150 bag, leaving enough room for the Leica or my FM2 or OM2, lightmeter and film in the front pocket. I’ve replaced the old leather strap with a modern one, this puppy is not gonna end up on the floor. Once you get used to it, it’s a quick camera to pull out and start to shoot with. Take a light reading, set aperture and shutter speed, flip the lid and focus. So, we have aperture from 2.8 – 22 with half stops marked. Shutter runs from 1 sec 1/500th plus B. Loading film isn’t too tricky, just remember to put the paper through the bottom rollers then close the back and start winding on with the lever. There’s a mechanism that ‘senses’ when the film goes through these rollers and then the exposure window starts to register, wind on and it will stop on the first frame. Ready to rock. I’ve also acquired a Rolleinar 1 close-up lens for it, these are rare as rocking horse pooh because of the Bayonet 3 mount and some people ask silly money for them – I paid £120 for mine, I’ve seen ‘em go for a lot more.
Looking through the viewfinder you realize everything is in reverse, this takes a bit of getting used to, especially trying to keep things level. We get twelve shots and twelve shots only, so patience and practice will pay off!

I shoot the odd landscape. Dolomites, Italy.

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Francois, from, er, France. My friend was looking after his Indian motorcycle that broke down on a run here in England. He came back to pick it up. How could I not shoot this portrait.

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Shooting family and friends and others.

I use this camera a lot for shooting images of my son. Sure, I could use my 7D and autofocus as he runs about (and I do) but over the last few years he has learnt that when daddy points the two eyed black box thing at him, he must stay still! It’s not about getting the right camera for the child but training the child for the camera ;-) Sometimes he’s not in the mood for stillness, so I leave it for a bit. Using a TLR at the right time though, I think is the secret. When he’s focused in on something or climbing a tree, I just ask him to stop and look up. Nine times out of ten he does. Candid racing about shots are best suited to newer technology, what I want from my Rolleiflex is the more thoughtful images, maybe even posed, if you can call it that. I prefer to look at it as shots where I have his attention, where we have our connection. Having the twelve shots makes me choosy about when I hit that shutter, I really have to be sure it’s what I want. I usually take one shot of a ‘scene’ and leave it at that then move on. Sometimes I don’t even move on, a roll can sit in the camera for days or a week or two. There’s no rush with this camera, no incessant need to snap everything in sight, it’s way more about gathering some great memories for me, of my little man growing up.

Rolleicord. My son Noah on a rainy afternoon.

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If any one photo sums up why I love this camera, it’s this one. I took one shot of this scene, kept my fingers crossed that I’d nailed the focus and kept the camera steady, 1/30th of a second.

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Zeiss Ikon Nettar. This camera is small when folded, very small for 6×6. Beautiful results.

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Shooting friends is a little easier, they know how to sit still. The Rolleiflex instills a sense of wonder in everyone. I get the usual question – “Do they still make film for that” and the remarks about how beautiful it is. I’ve used it a lot at weddings, it’s a talking point for guests, certainly breaks the ice. Bride and Groom are always super stoked on receiving a set of hand printed images, the Rolleiflex shots are the highlight without a doubt. I’ve noticed people feel way less intimidated with the Rollei than they are with a DSLR.

Like the Leica, the Roleiflex has it’s own brand of magic dust it sprinkles on your images. The awesome depth of field, that ‘otherworldly days gone by’ vibe where your natural light shots look like from another era, which in a sense they are! 6×6 analogue is affordable for nearly all of us, whereas digging into our pocket-money for a digi Hasselblad or Leica S2 isn’t such a do-able proposition (well not for me at least!) I love the 2.8E, I love to photograph people with it, I love the results and I love the fact that I have a fixed lens (with option of close-up). It takes 25 minutes to develop a roll of film, then about half hour to hang up and dry. Scanning is painless on my Canon flatbed 9000f and results are ok – it’s no Nikon Coolscan but I get 50cm by 50cm scans out of it. My favourite shots I print in my darkbathroom ;-) but that’s another story.

Stephen Bartels, gallery owner of the same name, London.

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Sir David Rodiagn, MBE (left) and his agent Ricky McKay (right). David is a living legend Reggae DJ, radio DJ (BBC), famous throughout the world. Ricky presented him with a 50cm x 50cm framed print of this shot for his 60th birthday. Proud moment indeed.

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Terje Haakonsen, one of the world’s most famous snowboarders. This is part of a series I made of Snowboard Legends in 2013 and was published in a couple of magazines. This is one of my few flashed shots with the Rollei.

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Tomi Toiminnen, ex pro snowbaorder, shwoing his tattoos ‘Never Forget’ one for an old friend of his who died too young, the other for a friend of ours who lost his life in an avalanche.

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If any readers have ever thought about getting into analogue medium format photography but are put off by the hassle of processing their own films, don’t be! It’s way easier than you think and once you’ve successfully hang up your first roll to dry you’ll be hooked. As for colour. Well, that’s turning out to be a pricey business these days. Colour negative processing has just doubled in price here, about €8.99 per roll, so include the film cost and you’re looking at €18 at least for twelve shots (without scans). My friend has just started doing colour at home because of this and is really happy with the results, I will go the same route very soon.

I’d like to also mention two other cameras as a much cheaper alternative to a 2.8e or such like. I acquired a Rolleicord IV with a 75mm 3.5 Schneider Kreuznach Xenar for €120, see attached images for comparison. The other camera that really surprised me is the Zeiss Ikon Nettar 518/16 with a 75mm 3.5 Novar-Anastigmat – I picked this up from a local flea market for €35 in fully working order! This is a zone focus camera so I got my hand on a Voigtländer rangefinder that attaches to the cold shoe, this helps loads. The images form this camera are also sublime though a bit slower to use than the Rolleiflex, the output is worth it.

Lisa Marie, test shot for her model agency. Available light coming in through a window.

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Ludi again.

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Viktoria. Test shot for her agency when she was starting out two years ago. She’s all over the planet now.

Viktoria - Rolleiflex

So, in conclusion, I use my 2.8e for just about anything and everything as long as it’s not running. It’s light and very, very quiet. It can be discreet as you can just stand in the street looking down and press the shutter and no one really knows (I guess this is how Vivian Maier took a lot of her shots). There’s still plenty of specialists servicing and repairing them and has a strong enthusiast following and collectors worldwide. Shoot one roll of film on this and I’m sure you’ll be hooked. At the end of the day it’s just another tool for us to realize the images we want to create and like each of us has our own favourite bits of kit to do the job we all end up in that ‘special realtionship’ with one or two cameras. Happy shooting people

All the best,

Andy Jackson

Shoe repair dude, Goodge Street underground station, London. It was very dark.

Shoe repair dude - Rolleiflex

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Paul Clements, photo journalist, Beatles and Dylan fan, guitar and sitar player at Stephen Bartels Gallery, London (with our 3 Leicas huddled together)

Paul Clements - Rolleiflex

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Feeding the duck and goose on a rainy afternoon in the Lake District, Cumbria, England on a visit to my mum this year.

Noah goose - Rolleiflex

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Reflection in a pond.

Noah pond - Rolleiflex

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Ice cream on a Sunday.

Noah ice cream hut - Rolleiflex

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Rolleicord. Kayla, my Siberian Husky and test model, never to be trusted off the line in a forest, or anywhere for that matter. Highly successful hunter.

Kayla - Rolleicord

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Ingemar Backman, Swedish snowboard legend shot at the Air & Style contest here in Innsbruck. Google him for insanely high backside air shots!

Ingemar ©andyjackson

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A friend of mine asked me to shoot a wedding shower for her friend. Grandma showed up and watched the proceedings from this chair. One of my favorite shots ever despite the light leak.

Grandma - Roleliflex

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This is Glenn, I used to work with him on the snowboard magazine. He works in Thredbo Ski Resort in the Aussie winter then travels around Europe to visit his adoring friends. The man is a legend.

Glenn - Rolleiflex

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Rolleicord. Forest scene. A much cheaper alternative but not the build or lens quality of the 2.8. Still not bad at all!

Forest - Rolleicord

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. Gabrille du Ploy shot in her gallery, Zebra One, that specializes in music photography amongst other things. That’s part of the complete set of original images shot for Beatles Abbey Road sleeve on the wall. And you thought a Leica was expensive…

Gabrielle Du Ploy - Rolleiflex

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Sort of street photography shot in Charlie’s mens hairdresser in Camden, London.

Charlies Camden - Rolleiflex

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Alex, a yoga teacher friend of mine, we did some shots in the forest near me. A reflector was used to light the face.

Alex yoga - Rolleiflex

Oct 082014
 

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The Lomography Petzval Art Lens Review

You can buy the Petzval Art Lens at Cameraquest using the direct link HERE

A long time ago in a land far far away there was a special and important portrait lens invented. The 1st usable portrait lens ever created, and it was designed by  Joseph Petzval in 1840. It was made of brass and it was very large, intended for cameras of the time. The unique look of the images from this lens was normal at the time, as it was the only useful portrait lens around. Even so it was a lens designed to cut down on exposure time from 30 minutes to mere seconds.

More on Joseph Petzval from Wikipedia:

Joseph_Petzval

“Petzval’s greatest achievements lie in his work with geometric optics. In 1839, Louis Daguerre presented the Daguerreotype, the first commercially successful photographic process. Fox Talbot’s calotype was discovered earlier but did not enjoy commercial success. Petzval learned of the invention from his friend, Viennese professor Andreas von Ettingshausen. The daguerreotype was problematic in that it required exposure times as long as 30 minutes to create a portrait. With Ettingshausen’s urging, Petzval set up a workshop and laboratory at Kahlenberg in Vienna and, after six months of complex computations, produced designs for improved objective lenses for both portraiture and landscape photography. Because the artillery was one of the few occupations that used advanced mathematical computations at the time, Archduke Ludwig lent eight artillery cannoners and three corporals to the computational efforts. The calculations these men carried out in tandem with each other have been regarded as an early (albeit human) example of a parallel computer.

Petzval’s portrait objective lens (Petzval Porträtobjektiv) was an almost distortionless Anachromatischer vierlinser (double achromatic objective lens, with four lenses in three groups). The luminous intensity of this flat “portrait lens” was substantially higher than the daguerre standard of 1839, the Wollaston Chevalier lens (f/16). The screen f/3.6 with a focal length of 160 mm made crucially shorter exposure times possible — using exposures of only about 15 to 30 seconds compared to the 10 minutes previously. Thus, snapshots became possible for the first time.”

So Mr. Petzval is an important guy in history as he was responsible for creating the first usable portrait lens. Photos from that time all have a unique classic yet surreal look due to the photo process AND the lens being used.

Enter Today’s Re-Creation of the famous Petzval Lens

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As time went on of course lens design became more of an advanced art and therefore lenses became sharper, well corrected, and with more sharpness across the frame. Today most lenses are perfected for optimum performance as we can do things today that could not be done in 1840.

Personally, I would say that many of the expensive lenses made today are almost too corrected! Sure, there are many more uses for a perfect lens than a not so perfect one but sometimes I get bored with that “perfect” look as it is the same look everyone has in their images today. Many of us are constantly seeking perfection it seems when it comes to our cameras and lenses, so I say it is a good thing when we take a slight curve or u-turn into a surreal dreamy world ever now and again :)

When something unique comes along TODAY that goes against the normal then I am always interested to take a look, so this new Petzval lens made by Lomo attracted my attention from the get go. Over a year ago now in August of 2013 Lomography put up a kickstarter for an exciting new portrait lens. This lens was the NEW Petzval, recreated in a smaller for full frame Nikon and Canon mounts. While much smaller than the Petzval of the old days, this one retained the same shape, design and brass construction. It also kept the insane swirly bokeh, soft edges and classic out of this world fantasy land look. The new Petzval inspired lens was announced as an 85mm f/2.2 design and promised a classic look just like the old version put out.

As you can see, an original Petzval lens is on the left..the new version (which was a prototype) is on the right. Much more manageable in size :)

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As soon as I saw the Kickstarter I WANTED THIS LENS but for some reason my funds were low so I was going to wait to contribute enough to get one of the first lenses. Then, I forgot about it and before I knew it the Kickstarter raised 1.4 Million (they had a $100,000 goal). It was insane! Almost one and a half million was raised which really showed not only the power of Kickstarter but also showed there was a true demand for this amazing new recreation/re-imagining of the first classic portrait lens. So while the signature of the bokeh and rendering is not for everyone, plenty of backers contributed and gave money for this project so they would be assured of a lens for themselves.

 Even though this is an f/2.2 lens and not an f/0.95 design, the Bokeh effect is insane. Some will HATE it, some will LOVE it. Me, I adore it and feel it is a great “every now and then when the time is right” kind of lens. To be honest, the lens is so beautiful to see and hold, I wanted one just to have it on my shelf! Even if I use it only a few times each year it will be worth it just to have this tool in my arsenal. I shoot it on my Sony A7s which is IMO, the best camera available today for using all kinds of cool lens via adapters. Can’t beat a small full frame with intense low light capabilities.

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So yes, I wanted to try one…

A year or so went by and I forgot about the lens until a site sponsor, Cameraquest.com informed me that they were now a Lomo Art Lens dealer and they had the lens IN STOCK! $599 with free shipping.

I was asked if I wanted to review it so of course I could not pass it up. Soon, Stephen Gandy shipped me the lens and when it arrived I was literally blown away by the gorgeous packaging that went into the lens. A gorgeous quality box, a full book about the lens and the history of it with many sample photos, the aperture system and a few other things. For $599, to me, this seemed like a steal. When I pulled the shiny brass lens out of the bag it was in I was very impressed. The look, design, weight and quality was so nice down to the engraving of the name on the lens barrel.

The lens is made in Russia, and it looks and feels TOP NOTCH. The only issue I have found is that the lens cap, which is also brass, always falls off. It is not tight enough so I always find it at the bottom of my bag. Lomo may want to adjust this in future production runs.

Below is the video I made when the lens arrived. You can see the packaging and hear my very 1st thoughts on it:

Love at 1st Sight

After I had the lens for 3-4 days I knew I wanted to commit and buy it. I contacted Stephen at Cameraquest and told him I was going to make the purchase. I also needed the adapter as I was using a Nikon mount version on a Sony A7s, so I needed a Nikon to Sony E-Mount adapter, which Stephen also sells and sent out to me for my testing and eventual purchase as well.

A lens I recently re-reviewed here on these pages was the Canon Dream lens. A lens I had bought not once, but twice in Leica M mount and when I bought my 2nd copy for $3100 I vowed to NEVER sell it… until I received an offer impossible to pass up for it via email. Then I did indeed sell it as I knew I would be a fool to pass up that offer. Even though I sold that lens for much more than I paid, I missed it as soon as it went out the door and started searching for something unique again..something that could give me a similar vibe..and when the Petzval arrived, THERE IT WAS! Just what I was looking for.

With this Petzval lens coming in at only $599 I can get a taste of that Canon dream lens..a bit of that flavor for MUCH MUCH less. While this lens is not the same as the Dream Lens I owned (IMO) I do feel it is a bit similar in rendering with a different signature at the edges and slightly in the Bokeh. I like the dream lens better but for the money, now that my 2nd dream lens was gone, buying the Petzval for my special effect lens was a no brainer.

Color or B&W..does not matter. What you will get is the same Petzval rendering and look. 

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Using the Petzval Lens…

As stated, my Petzval was purchased in Nikon mount which makes it easy to convert for use on the Sony A7s or Leica M 240. The lens is slightly long and manual focus only. The Aperture system is the old waterhouse system meaning there are aperture plates you put into the cameras aperture slit. Me, I use this lens at f/2.2 or f/2.8. By f/4 it sharpens up so much it almost renders like a normal lens, making the Petzval a Jeckyl and Hyde kind of lens. I feel the unique selling point of the lens is the swirly Bokeh effect and soft edges. So I basically always leave the f/2.2 aperture plate in. If you remove the plate you get a TEENY bit more speed according to Lomography and possible flare issues but when I tested this I saw no real difference in Bokeh or Exposure or flare. For those hoping to see more craziness without a plate, there really is none. Many would ask “Why use any plate at all”? Well, without an aperture plate inserted you are allowing dust to float down into the lens, and this is never a good thing :)

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The way you focus the lens is also unique. There is a dial on the left of the lens and this is what you rotate to focus. It is VERY simple and works well. In fact, I wish more lenses worked like this! It seems much more precise. It was so easy to focus on the Sony A7s with the nice big clear EVF that I never had a focus issue. It’s brilliant!

More in COLOR – All wide open at f/2.2

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On the Sony A7s I just plopped on the Nikon to E Mount adapter and then the lens. That was it, ready to rock and swirly roll. Using the lens was a piece of cake. I feel an EVF based mirrorless makes it easier to use this lens because with a Nikon DSLR you are looking through an optical viewfinder and it makes it very very hard to nail focus using the Petzval. I prefer the what you see is what you get type of thing.

It’s NOT an Everyday Lens!

If you are looking for ONE lens and one lens only, this would not be it. While fun, interesting and unique, the look can be overdone so I would reserve it for certain situations or scenarios. I have seen GORGEOUS portraits with this lens and I have seen AWFUL portraits and mis-use of this lens. Using it takes some practice as not everything will look good with it. Some subjects may look really awful using this lens and it probably takes a month or two to really get to know it inside and out. Me, I have been shooting with it for only two weeks so I still have some learning to do before I create my own Petzval “Masterpiece”.

I bought the lens for those few times a year I get the itch for an “artistic” lens. Lenses like the Noctilux, the Canon Dream Lens, Canon 85L and this lens are what I call “Art Lenses” because they create images that can sometimes appear as paintings. They specialize in the surreal and I LOVE these kind of lenses.

Take a look at a few more samples using this very crazy lens – click them for larger versions that look better, especially if you are using a large display (I use a 27″)

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What to expect from the Petzval

If you buy this lens one thing to keep in mind is that when shot wide open you will get images just like you see here. Swirly Bokeh, soft edges and corners, sharp in the dead center of the frame and lower contrast (which is easily fixing in post). All of these ingredients add up to create the signature look of this lens. I can already make a prediction: Many comments here will say “The Bokeh makes me dizzy or sick”, “Those shots are awful”, “I could never use this lens”…then others will say “Wow, that is a cool lens” or “I own one and love it” or “I want one”!

People are usually split on these kinds of swirly lenses. This is one thing that makes the world so great and interesting, no two individuals are alike :) 

Many classic lenses render in a similar way though not so extreme. When shooting this lens remember it is manual focus, manual aperture and will work perfect with the camera set to aperture priority mode. Focusing via a nice EVF is, for me, a breeze. Also, this lens was made for full frame sensors and to get the most out of it this is how I would recommend using it. When taking a full frame lens and using an APS-C or smaller sensor you lose part of the lens signature which is why I never use Leica M glass in Micro 4/3. This lens would be fantastic on the A7s (all images here with the Sony) or even the Leica M 240. All you need is the adapter for each and you are in business. Of course, you can also use it on any Nikon DSLR or if you buy the Canon mount, any Canon DLSR.

This lens is indeed an “Art” lens and I would love to see a 35 or 50mm made just like it as sometimes I find this focal length of 85mm a little long. Lomo should create wider versions with the same design..a trio if you will.

Man I just love the swirl in this shot. Surreal, dreamy, with just the right amount of softness for the portrait. I shot this to show the background rendering of foliage as well as the swirl.

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When shooting this lens expect the Bokeh performance of a faster lens. For some reason it blows out the background like an f/1 lens. It’s crazy but for me, it is beautiful (on most occasions).

My Bottom Line Conclusion on the Petzval Lens

When this lens was announced I WANTED ONE in a bad way. Then I was busy and forgot about it. When it was finally released and I saw samples, the early samples, I was not so impressed. As time went on I studied some of the amazing samples available online and knew I would eventually own one. When Stephen Gandy offered the lens up for review I could not pass it up. I would be able to test it and if I liked it, I could purchase it. Once I saw the attention to detail in the packaging and design as well as the build of the lens and accessories, I was hooked. After shooting off 10 frames or so I was sold.

The lens is not an everyday lens but it is one that will be used from time to time when I want that special dreamy effect. Much like the Canon Dream Lens I recently re-visited, this lens has some craziness to the rendering, but I am a crazy guy so I love it. But…I would tire of it if I used it daily, really quick.

Depending on the background of your subject you could end up with a nasty busy mess or a beautiful ethereal image that looks like a painting. It takes reality and distorts it a little, giving us a taste of what it is like to be an artist. Those photographers with the eye and vision for the unique will get it. Others will not. 100% personal preference. But it does take practice to determine the best distance from subject to lens and subject to background. Get these just right and the images deliver the look you want. It’s a hell of a lens! While shooting it in Las Vegas I had so many ask me about the lens. When eating a waitress saw it and had to ask all about it telling me she wanted one for her son. It will get attention, but it was all good attention. People were genuinely curious about it due to the design and looks.

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I am happy I decided to make the purchase as it can be used on my Sony A7s or on a Leica M-P. It also sharpens up more at f/2.8 and by f/4 will give you pretty nice consistent results without the swirl. Using the old-fashioned aperture system is quite nice actually. I haven’t lost one yet and I love the process of pulling one out and using the next, though I admit, I feel this lens is made for wide open use so I RARELY change it.

If this type of image rendering suits you, I highly recommend this lens. I feel in 10 years it will be desirable and one day even collectible if they stop production of it. Look at the Canon Dream lens. A few years ago you could buy one for $900, now expect to pay $4500-$5000 and up for a clean M mount version. (what I sold my last one for).

At $599, it is priced more than right IMO. You get a great experience from opening of the box, to holding the lens, to using it. There is only ONE complaint from me and that is the lens cap. It always falls off, so I usually leave mine off unless it is sitting on the shelf. Other than that it is just what I expected and I am really surprised that this lens was not priced a little higher due to the superb packaging, build quality, brass design and novelty of it.

Thanks Lomography!

You can buy this lens from Stephen Gandy at the link HERE. He ships FAST and is a great guy to deal with.

You can buy the Nikon to E-Mount adapter from him as well, using the direct link HERE.

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