Jan 282015
 

Dirt Cheap Mirrorless Fun

By Ben Bird

As many of the guest contributors before me have done I want to thank Steve and Brandon for a chance to share my experiences with all of the other readers of Steve’s website. I hope you will find it as enjoyable to read as I have many of your reviews! (Thanks Ben!! – Steve)

I don’t have any exotic gear to review for you, no ultra-rare vintage glass that has been found in an attic and saved from the brink of extinction… nothing terribly exciting… what I do have for you all is a review of a dirt cheap and very fun mirrorless setup that I have been beating around with a lot of average and common legacy glass on some adapters.

Let me back up a bit and give you some context…

(I can assure you it isn’t anything special. You could probably guess the next few paragraphs and be spot on!)
I have been a Canon DSLR shooter for 12 years. I started out with a Rebel XT then moved on to a 20D, a 40D, a 5D Classic and recently a 6D.

I take pictures of anything and everything. I have photographed weddings as a Primary and a second shooter off and on over the last 6 years. I also did portraits, families shoots, seniors and events, but have since retired from those pursuits. I shoot a lot of candid portrait work and spend a lot of my shutter time with family and friends socially.

I also work part-time photographing an amazing local motorcycle shop here in Lincoln Nebraska called Great Plains Cycle Supply. I document the employees, customers, and events for their social media and websites. (Check them out!)

My current full-time day job allows me to work outdoors and I attempt to take my camera with me at all times, never going anywhere without it tagging along… but as we all have experienced, that isn’t always possible.

Eventually the hassle got to me and I started to leave the DSLR at home more and more often.

While I have enjoyed the image quality of my DSLR’s I have long been pining for something smaller and more discreet. The heartbreak of missing a really amazing photo because I simply didn’t want to take my big DSLR along was really taking it’s toll on me. And of course… who doesn’t want to get closer and be ignored more when taking candid photographs of people?

Tou Five Star 1

Ultron 4

As you have no doubt realized, it’s going to be another one of “those” reviews… DSLR to mirrorless… we’ve all read them, and everyone is doing it these days… so I will try to hurry past some of the more cliché parts and spend a little more time on what I can offer that is unique.

I really wanted to try a mirrorless system and see if I could make it work for me… but I was concerned that being a full frame DSLR shooter for so long I would never be able to “let go” of my obsession with full frame “look” and embrace the crop sensor files.

Fortunately I have the internet… and if there is one thing I know how to do well; its kill hours of my life while looking at photographs on the web!

I spent a lot of time enjoying thousands of photos taken with mirrorless cameras and at some point I realized I had forgotten that I was supposed to be analyzing the image quality of the photos and had just been enjoying the photographs! The image quality has ceased to be that big of an issue for me… and I also had realized that no matter how amazing the full frame files looked… if that full frame camera wasn’t with me when the photo presented itself… the photos would never be taken at all… and all that sexy full frame goodness was going to waste at home in the camera bag.

Finally I came to the conclusion I had to try for myself. In my circle of friends the only mirrorless cameras were a couple of Fuji’s. So I borrowed an X100 from my friend and took it for a couple of test drives.

And I was disgusted.

I couldn’t get the camera to cooperate with me; I couldn’t take a decent photo to save my life. I worked and worked and was constantly frustrated. But worst of all… I couldn’t seem to do anything to the Fuji files to make them work for me. I was crushed. I was so ready to be on board… I had seen loads of beautiful Fuji photos, so I knew that the system COULD work… but I couldn’t seem to get the hang of it.

I threw up my hands in disgust and went back to my DSLR’s and said I would never switch over to Fuji.

But, the years went by… and I saw more and more beautiful photos taken not only with Fuji, but also with the other mirrorless systems.

I forgot my disgust and frustration and started to daydream of the day I could carry a tiny discreet camera around my neck all the time.

I tried other systems in the camera stores. I lusted after the RX1 and RX1R, the OMD’s the A7’s and thought that maybe they could work for me but everything was out of reach financially.

A friend of mine had recently left Canon and bought a used X100s and an X Pro 1 for not a lot of money and was making beautiful photos with them on a regular basis. He encouraged me that working with the Fuji files was indeed different and that I should be patient and give it some time before I ruled out Fuji entirely.

I would look at the work done by so many of the great photographers on the web and all of the great reader reviews on this site and say to myself:

“Clearly it can be done right. Why can’t I do that? It has got to be me and not the cameras fault. “

Finally I’d had enough… I decided I had to jump in and actually put the hours into learning the system and stop blaming the equipment. After all… that IS what I preach day in and day out: It’s the photographer… not the camera that makes great photos. I was being a hypocrite.

So it was way past time for me to put my money where my mouth was!

It just so happened that my bank account and I weren’t on speaking terms at the time, so I couldn’t just rush out and snatch up a new system.

So, I looked for the cheapest possible way to start shooting Fuji… and I found a mint condition used XE-1 for 300$. I knew I wouldn’t be able to afford glass for a long time, but I had some old manual lenses In the house… some M42, some Nikon and even an old Voigtlander 35mm f/1.7 Ultron that I could use on the Fuji with some adapters.

So I pulled the trigger and got the XE-1 and an adapter for the Voigtlander.

Well… I wish I could say it was a match made in heaven… but it wasn’t.

There were a lot of teething problems and I spent most of my time cussing the Ultron and trying to get the hang of the incredibly bad minimum focusing distance of the lens (somewhere around 2-2.5 feet!) I am so used to being able to shoot closer that it really threw me off. I could never tell if the lens was just a little soft or if I was just always blowing my focus.

Eventually I got a few shots I liked, and started to get the hang of the XE-1… but my poor manual focusing ability and the Ultron butted heads constantly.

Ultron 3

Super Takumar 50 4

Nikkor 50mm 3

Perhaps I should say a word about the XE-1’s focus peaking here:

While I am grateful for the focusing aid, and it does indeed help me some days… it’s not as fool-proof or precise as it was made out to be to me by some. Perhaps I haven’t gotten it set up right, or am missing something but I can also say there is a HUGE difference on my XE-1 on how the focus peaking works in the viewfinder and the rear LCD. It is MUCH easier to see on the rear LCD and it feels as though it is barely working in the viewfinder. It also seems to work better with some of the other lenses I ended up using on the XE-1 later on down the road.

And for whatever reason… my copy of the Ultron doesn’t seem to play well with the focus peaking. It’s a shame… because the Ultron is the smallest , lightest and the fastest focusing lens I have and I really thought it would be my favorite lens for the Fuji… but it has turned to be a bear for me to nail focus with.

I have a few good shots from the Ultron to share, but let me say it was a LOT of work to get those few shots! My hit rate was terrible!

So, as I was struggling so much I borrowed some adapters from a friend for my M42 and Nikon lenses to see if they would work any better.

At this point I was also still struggling greatly with the Fuji files, and not really able to consistently make photos that I liked.

Part of it was me still trying to learn how the camera “read the light” and where it’s sweet spots were. And another part of it was not finding a look in post that made me happy.

I was very frustrated again and starting to doubt my decision all over again. At this point I was only shooting RAW and bumbling around in Lightroom with every shot.

I decided it was time to try the famous Fuji Jpegs that I had read so much about… so I switched the XE-1 over to Jpeg, fiddled with the settings, put my Super Takumar 50mm F/1.4 onto the Fuji and started playing again.

Well, right away I felt better about the purchase… the Takumar was sharp, as well as having a buttery smooth focus ring. Focus peaking seemed to show up a little better than with the Ultron. However… on the down side… the Takumar was much heavier, and the focusing while being more precise… was much slower and the focus ring has a much longer throw from stop to stop.

So, I had found a lens that started to work well, and I made a little progress with the Jpeg settings. However, I decided I really needed to buckle down and sort out the Jpegs before I went any further.

I spent about a week of hardcore testing with all the jpeg settings in camera. Shooting, comparing and pixel peeping to try to figure out what I liked and how they all worked for me in post.

Eventually I found a setup that allowed me a good starting point with the Jpegs that would allow me to process them in any direction I liked… for the most part.

The color was mostly there and I liked the way they converted to black and white after the fact in Lightroom.

So I started to work with just a single default Jpeg setup that allowed me a consistent baseline to try the various lenses in all sorts of lighting situations so I could learn the sensor and lenses personalities better.

This alone made such a huge difference in my Fuji learning curve… just having a stable baseline to always work off of.

Nikkor 50mm 1

Micro Nikkor 3

Tou Five Star 6

Tou Five Star 7

Tou Five Star 6

These are the settings I finally settled on:

ISO Auto 200-6400 range

DR 100

WB auto

NR -2

Fine Jpegs

Astia film simulation

Highlight Tone +1

Shadow Tone +2

Color +2

Sharp -2

Obviously, settings are very personal and this may not work for anyone else, but this is where I start from with every one of my photographs now.

After I got that sorted out I went back to my lens experiments.

Next up was my Super Takumar 35mm F/2. A beautiful looking lens, that is really quite large and heavy. I really thought this lens was going to knock me out of the park. Out of all my legacy lenses this tank has highest quality FEEL to it, and a fairly stiffly dampened focus ring. I also wrongly assumed that at F/2 it would be very sharp wide open.

Well… it’s not. It’s a little soft all over and only a little sharper in the middle. I was disappointed by how much the stiff dampening slowed down my manual focusing on moving subjects and frequently missed shots.

I struggled to find a good way to use this lens and was about to give up and put it back on the shelf when one early morning I took a few flower shots to stay busy and I checked the screen and OH MY GOSH!! WHAT JUST HAPPENED?!

The out of focus rendering when wide open on this lens in AMAZING with the right background, light and distance to your background.
I know this sort of rendering isn’t for everyone… but WOW… this lens has some serious character in the right situations!

Tou Five Star 4

Tou Five Star 5

Micro Nikkor 1

Super Takumar 35 5

Super Takumar 35 2

See for yourself… I can’t say much for the weight or the handling as it adds a LOT of weight and size to the little Fuji, but I pull this guy out whenever I want to take some photos where sharpness isn’t critical with some interesting bokeh in the background. I haven’t even come close to exploring this lenses potential but I am most certainly not going to be selling this one anytime soon.

Around this time I realized that I was really getting to enjoy the EVF a lot on the XE-1 when the light was nice. Lots have been written about both Fuji’s EVF’s in general and the lagging of the older models viewfinders and/or LCD screens in low light so I won’t try to quantify it for you in this review but I can say that:

a) (The older models) They leave a lot to be desired in low light.

b) They can be really great to use regardless of the shortcomings.

In nice light it’s really fun and relaxing to use. What you see is what you get. Quite a nice change of pace from the chimping we have come to assume is mandatory with our OVF’s of old.

(Like I said, all of this is old news these days and every “DSLR to mirrorless” review has already broke ground with all these points so I don’t have any shocking revelations for you!)

The camera’s ergonomics were growing on me as well. While using my legacy lenses really makes the XE-1 quite unbalanced and “nose heavy” at times, it is still pretty fun to use and hold. After spending some time with my Super Takumars, I pulled out my Nikkor 50mm F/2 AI and mounted it up.

First impressions were that it was a pretty light lens compared to the Super Takumars and it was quite enjoyable to focus with as well!

The Nikkor has a very lightly dampened focus ring and a very fast action with a pretty short throw stop to stop that makes it very quick to focus and to date is my favorite legacy lens to focus out of my small collection.

The focus peaking seemed to be a bit easier to see with this Nikkor as well, and it really makes an easy to use lens if you like this 75mm equivalent focal length.

I enjoy shooting this lens wide open or stopped down to F/2.8 from time to time as a candid portrait lens, or just a general do everything lens with a little more reach. I’m not an expert in this area but I can say it was plenty sharp wide open for me and I never found a problem with the image quality from this lens. Another keeper for me!

Next up was an old Micro Nikkor 55mm F/2.8 macro lens that I use as my primary macro lens on my Canon DSLR’s.

I am already fond of this lens from my years spent with it, so I can tell you with great confidence that it is slow focusing and precise and it gets nice and close just like you want with a good manual macro. I am not sure what else you need to know! It works, it’s cheap, and it allows the Fuji to really get in there!

If that is your thing, then it’s a great cheap way to go! (Sorry… but that’s the bottom line for me. It works well for me, but I am not a hardcore macro user… so your mileage may vary!) I would love to give you more details but that’s really all I have!

Around this time I realized that I was really feeling a huge weight being lifted from my shoulders… I could shoot in Jpeg and not worry about larger memory cards, filling up my precious hard drive space with monster RAW files, Lightroom was working faster (my CPU is getting a little long in the tooth) and I found that I was less concerned with blowing shots.

Ultron 2

Ultron 1

Ultron 5

Nikkor 50mm 2

Tou Five Star 2

Tou Five Star 3

I was trying harder to get the shot exposed and composed the way I wanted it in camera, but if I couldn’t, or I was too slow, or the shot had way too much motion blur… I wasn’t nearly as upset at myself for screwing up a shot… I simply said “oh well” and moved on.

I was clearly relaxing and enjoying photography more now.

But, the flipside was that because I had a hard time confirming that I nailed focus … I ended up taking a LOT more shots to make sure that I got SOMETHING that day. (Thank goodness I was shooting Jpeg!)

I was hedging my bet… which seemed very counterproductive and a little silly to me.

So my time with the XE-1 was being spent wrestling with my desire to nail every shot, get it right… but also to not freak out if I missed something and try to relax and let it go.

It was a confusing time. But slowly I was enjoying it more and more.

I was feeling more and more comfortable with the Fuji files as well. Where they Full Frame Canon files? No. Did they have to be? No.

I haven’t sold my Canon’s yet, and I and I don’t know if I will… but not because I think that one sensor is superior to the other anymore… it’s because I realize they are merely two different ways to render a photo.

Cameras are paintbrushes. Tools. You use different paintbrushes to render a work of art in different ways. You use different tools to do different jobs.

I like the very disparate painting styles of Monet, Davinci, Robert Williams, Salvador Dali, Frank Frazzetta, H.R. Giger, Gil Elvgren, Phil Noto, Simon Bisley, and Alphonse Mucha.

I love the photos of dozens of photographers with very disparate styles like Diado Moriyama, Henri Cartier- Bresson, Joe McNally, Patrick LaRoque, Magdalena Switek, Thierry Nguyen, Gabe Mcclintock, Laurent Nivalle, and Gordon Chalmers just to name a FEW!

All the artists that I love and appreciate use different “brushes” and utilize them in very different ways.

Is one better than another? No. They are merely different… not better.

I had come to realize that I while I hadn’t nailed down the way I preferred to process the Fuji files and they seemed a little mushy to me at times, and I WAS frustrated by the details I was losing here or there compared to my full frame files… I really was becoming quite fond of the way this first generation X Trans sensor rendered photos. It was a look all by itself and I had really grown to love them.

Steve has talked before about how the second generation Fuji sensors can absolutely sing with the right light and the right settings… and he is right… but he is ALSO right that when the ISO’s climb… they can get mushy, muddy and flat looking.

I can say now that I agree with Steve and I prefer the look of the first Gen X-Trans to the high ISO rendering of the second Gen X-trans… but like I said, I had come to find a little charm in the files regardless of the flaws. I am POSITIVE that if I spent more time with a second Gen Fuji sensor I would come to love that look as well… different… not better.

So, as I worked to become more comfortable with my lenses and the new sensor, I was enjoying the learning process more all the time and leaving the DSLR at home pretty often now.

Then one day I realized what was missing from my Fuji experiment: One good do-everything, universal lens.  I really wanted to leave the house with one lens that would do everything (if possible) and have a Fuji setup that worked something like the X100 was designed to be: practical and useful for almost every situation.

I was digging around the web, and hoping to find a cheap option when I checked the back room on a whim… and low and behold… I found an old Minolta XGA that I had forgotten about, with a Tou/Five Star 28mm f/2.8 macro lens attached. Hmm…. That would be about a 42mm equivalent and kind of fast at 2.8. And the close focusing ability would certainly be appreciated.

So I got myself an adapter ordered and crossed my fingers. Well, the day came… I slapped the adapter and lens on the Fuji and took it out for a spin. And it did not disappoint. I can honestly say this is the most practical and enjoyable legacy lens I have ever used. Not flashy, not fancy, not sexy, not rare, it doesn’t have tons of character… it is just really handy for all kinds of photos.

It’s a little heavy, and focuses slower than my 50mm Nikkor, but it’s not terrible. The focal length helps with moving targets, and the macro focusing ability makes it really versatile and quite fun no matter what you are doing. It even will take a decent portrait if you are careful as it doesn’t have a lot of distortion. It’s sharp, has great contrast, nice color rendering and can be purchased for very little money. Yes, it is still a little front heavy, and when it is cold the grease gets sluggish in the action and the focusing can be even more dampened.

There is lots of lens flare with no hood, and it’s not blazing fast at only f/2.8… But it is a really great daily companion for the little Fuji if you want to keep costs down and have a lot of fun like I did. Eventually, I came to the conclusion that I was ready to commit to using a Fuji most or perhaps even all of the time. I had come to love the Fuji first Gen X Trans sensor and the small body of the XE-1.

I had realized that I could have fun and take nice pics even with slower manual lenses. The Fuji was coming along with me everywhere, was fairly quiet, and fairly unobtrusive and I decided that if I could enjoy my time with the older lenses, then the Fuji autofocus lenses might be alright for me as well.

Three days ago I managed to scrape up enough money to buy my first AF Fuji lens, the XF27mm F/2.8 pancake lens.

Initial impressions are great and I love having such a feather light lens on the XE-1 after a lot of the heavy legacy lenses. It’s not a blazing fast autofocus camera, but I have already been working around that slower speed so it was actually quite an upgrade for me!

In conclusion, I think that if any of you readers out there would like to give Fuji a try, but don’t want to invest huge amounts of money into a system that you might not like… give the old XE-1 or X-Pro 1 a long hard look. Start with a few cheap adapters and beg, borrow or steal some old legacy lenses to try.

And please… give yourself a while to get use to the system and to learn how to work with the files… I am almost 4 months into this experiment now… and I was really struggling until about my 3rdmonth.

Have some patience and invest some time into getting the camera set up like you want and see what you can do with it.

The final word for me is this… I am absolutely certain I can nail my photos 90% of my time with my Canons. I am confident I will get my shot, I will make it work, and I will be able to process it the way I want 90% of the time.

Why? Is it the sensor? Is it the camera?

It’s neither. It’s the 12 years of practice and one million photos I took with that same system.

I’ve been using a Fuji for just a few months… come back and see me in 12 years and I am certain I will say the same thing about my Fuji’s.

If you would like to see more of my Fuji experiments you can see them on my Tumblr that I set up just to share the Fuji shots. I have been tagging all the photos with lens information for the curious!

http://mylifeaccordingtofuji.tumblr.com/

Or you can see a larger sample of all of my photos both Canon and Fuji here on my Flickr page:

https://www.flickr.com/photos/minkypaw/

Thanks again to Steve and Brandon for giving us all such a great site to enjoy!

Ben Bird

Jan 282015
 

Using the Sony A7

By Josh Seeto

Hi Steve and Brandon,

I am an Australian photographer based in Brisbane. Shooting for over 5 years, and spending thousands of dollars buying, selling and trading camera gear (working for 3 years in a camera shop did not help my GAS), I found myself in a creative rut.

Over the new year break I went on a two-week trip to Taiwan with my partner. Starting from Taipei, we worked our way around Taiwan starting from the East coast. Packing my suitcase was the easy bit – choosing ONE camera kit to bring proved to be incredibly time-consuming. Should I go for the mirrorless wonders of the full frame A7? What about the trusty D600? Would I find myself missing wide-angle with the x100s? Hm.. I was travelling – maybe I should drop both and bring along my RX100M2. What about film? I could have brought along 明瞭さ – my modified polaroid 420 or my Instax mini 90.

In the end, I decided to go with the A7 and SEL1635z. The A7 had proved itself as a beast in low light, had a viewfinder and tilt screen for sunny days, great AF, lazy man’s panorama and was easily stored. Restricting myself to one lens due to weight considerations I found forced me to explore and think about my creative options more. The lens itself was no let down, great construction, sharpness was on point and OSS definitely came in handy in low light conditions.

I wanted to share these photos with you and fellow blog readers as I feel they represent my lasting impressions of Taiwan. I’ve framed them to give a cinematic feel with processing in lightroom and photoshop.

If anyone is interested in seeing more, check out my flickr.

https://www.flickr.com/photos/13atman/

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Jan 272015
 

Schidt Optics FF58 Lens on the Sony A6000

by Jeroen de Lang

What is this Schidt?

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Dog Schidt Optiks is a small British company that re-purposes salvaged Russian and East German lenses. Their FF58 is built around the Helios 44 that were made in the former USSR by the thousands (some claim millions) between the 1950’s and 1980’s. They were usually supplied as a kit lens with Zenit cameras and thus usable with other M42 lens mount cameras. The Helios-44 is a 58mm f2-f16 prime. At the end of WW2 the Russians acquired the Carl Zeiss Biotar optical formula and factory. The Helios-44 is basically a Biotar copy.

Each lens is completely dissembled, cleaned, relubed and rebuilt with uprated mechanical components, then individually configured to the clients’ specification. Dog Schidt Optiks (DSO) are able to apply a variety of optical degradations depending on your desired look. This, in combination with what they call their non-production line, craft based approach means each lens has its own nuances in character. It costs more than picking up a Helios-44 on eBay, but it is not the same lens!

Whether you want a subtle low contrast lens that absorbs and reacts with the natural ambient hues of your shooting location, a nearly unusable ultra-low contrast lens with wild tinted and almost light leak type reactivity to light sources, or a lens that simply imparts oval deformed bokeh to replicate the look from an anamorphic lens system, the FF58 can be configured to deliver these and many other qualities. You could even go for a restoration only, completely without degrading or tinting with the original contrast intact. This option is not on the site, but DSO will build whatever you specify. The FF58 is available in Canon EF, Nikon or Arri PL mount.

A lower contrast lens absorbs the natural light and creates a shadow lift. This shadow lift causes degradations in the shadow information, but using a typical lens the darker areas would simply be masked by more noise since the shadow lift would no longer be feeding the sensor with light. This makes for milky images or a distinctive lo-fi aesthetic if contrast is raised in post.

The FF38 is another beast entirely. Newly designed as a direct extension to the optical make-up of the FF58’s double gauss design, the FF38 Optical Attachment delivers a 38mm effective focal length without degrading the optical performance of the FF58, even when used wide open. The FF38’s primary goal is to deliver around a 1.5x wider field of view while maintaining the aesthetic and flare characteristics of the FF58 it is installed onto.

The FF38 Optical Attachment boasts an 80mm front diameter suitable for direct matte box attachment, and 77mm filter threads for filters. FF25 and FF88 Optical Attachments and an FF58 Non-optical Attachment are under development – each sharing the same external body design and 77mm filter thread. This strategy makes it possible to build up a shooting set where optical characteristics and aperture settings (dictated by the configuration of the FF58) are uniform across all four focal lengths (25mm, 38mm, 58mm and 88mm). Therefore it is possible to build up a set of various FF58’s of different optical configurations while only needing one of each front mounted Optical Attachments. With the supplied adapter ring the FF38 will also work with other 55mm thread lenses.

A FF58 will set you back between £140 ($225) for Canon EF mount to £260 ($420) for Arri PL mount. The FF38 is still on pre-order and is priced at £280 ($450).
The ordering process has been slow. Lead times have been between 4-6 weeks from the date when I placed my orders to the date where I get a confirmation of shipping. Email contact during the process is limited. DSO is essentially a one man operation and the process is fully bespoke, with each lens built one by one. This takes time. DSO will test your patience. Just so you know. But all good things come to those who wait, right?

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Is it the Schidt?

Digital photos have become too clean in my book. The FF58 adds a more lo-fi look with an analogue aesthetic that you cannot get elsewhere at this price, as far as I know. I am but an amateur so using old glass is beyond me. I would not even be able to perform even the simplest of repairs.

As for the tinted options, unlike typical front mounted filters, they only activate when exposed to large amounts of light pooling the lens barrel. The lens creates dynamic shifts in overall hue which are often unpredictable. Since this effect originates within the physical domain rather than software, the ‘baked in’ look and tactile nuances impart a beautifully analogue feel to digitally acquired and processed imagery. And you can see them real-time as they occur in your viewfinder or camera screen.

My first FF58 has a low contrast but no tinting or degrading. Flaring can be controlled, but when it flares, it flares! The FF38 opens more possibilities by changing the focal length of the FF58, but maintaining my selected optical characteristics. On my Sony Alpha 6000 I use it with a Roksen Focal Reducer Speed Booster Adapter Canon EOS EF mount lens to Sony NEX E A6000 converter. This applies a 0.7 times magnification so I can use it at the original 58mm focal length even on the APS-C sensor.

I liked shooting with the FF58 so much that I was one of the first to pre-order an FF38 attachment. Mine is number six. I also now own a second FF58. This is an amber / gold tinted one with a fixed F4 triangular aperture.

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My lenses are one of a kind and have clearly been lovingly crafted to my own spec. I only wish the bokeh would be smoother, but at this price I can live with it. It is also the price you pay for shooting with a lens based on a 70 year old design.

One more thing: the aperture is labelled wrong. F2 is actually f16 and vice versa. This does not bother me. I shoot with three aperture settings: f2 when I want a shallow depth of field, f16 when I want clarity and somewhere close to f2 when I shoot portraits and want more of the face to be in focus. But such a thing could drive some people up the wall.

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A word of warning

These are not modern lenses. Character means imperfections. Lots of them. If you want to pixel peep you will find all kinds of wackiness. They are fully manual as well. Definitely no auto-focus and such.

See the lens here at Dog Schidt Optics. 

Jan 272015
 

The Kodak Ektanar f/2.8 Lens on the Sony A7r

by Chris Peters

I recently built a custom lens adapter for the Kodak Ektanar f/2.8 Lens. If you think your readers would be interested, I would love to write this up as a user report. The Kodak Ektanar was part of the Signet 80 rangefinder system that the company produced from 1958 – 1962.

The system came with 3 lenses: a 50mm f/2.8, a 35mm f/3.5, and a 90mm f/4. More info is here:

http://photo.net/classic-cameras-forum/00YOZc

And here are the three lenses mounted with the custom lens adapters on my Sony A7R. The lenses are so obscure I had to build the lens adapters on a 3D printer to use them!

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

Here are some photos I took with the lens and adapter:

A WALK THROUGH HOLLYWOOD WITH THE KODAK EKTANAR LENS

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

This photograph cannot be modified for commercial or advertising use, nor can it be copied or reproduced in any form without the photographer’s permission.

Jan 232015
 

RX1TTH

6 Months With The Sony RX1

By Simi Tometi

Hello Steve, Brandon, and fellow site readers. My name is Simi Tometi, and I am a medical student from Dallas, Texas. School usually keeps me busy(and broke) for the most part but whenever I do have some spare time I indulge in photography.

Last summer I was presented with an opportunity to purchase the Sony RX1(with viewfinder) in immaculate condition for roughly 1/2 of its initial price. With the Fujifilm X100S selling on Amazon for as low as $850(used), I was a bit hesitant. After reading countless reviews and analyzing the specs sheets I went with the RX1. To be honest the deciding factor was that I didn’t want to look back months later wishing I would have just spent the extra cash on the RX1 instead of the X100s.

It’s been just over 6 months, and I’m glad to say I’m more than happy with my purchase. Though the camera as a whole isn’t perfect, it never ceases to amaze me.

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When I purchased the camera, the first thing I noticed was its cold utilitarian build. The whole camera is composed of metal, giving it a solid feel reminiscent of the Canon 5D Mark III(however I’m not completely sure if it’s made up of the same magnesium alloy). The buttons and dials are laid out logically, except for the record button, which is positioned between the rear and right side of the camera. I didn’t find this placement problematic until I added a Black label braided silk strap to the camera, which often presses the button activating the movie mode function.

The Carl Zeiss 35mm f/2 lens, is nothing short of a masterpiece. From its buttery smooth focus ring, to its clickable aperture dial, it just does not disappoint. Wide open, it’s just a treat to use due to how jaw-droppingly sharp it is. Stopped down sharpness really doesn’t increase much, yet the increase in micro-contrast may make you think otherwise. Optical performance is just stunning; rarely do I find any traces of chromatic aberration.

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In regards to ISO performance, the camera once again doesn’t disappoint. At 6400, noise is present but very well controlled with files retaining plenty of detail and files still being remarkably flexible.

Together, the Carl Zeiss lens, functional camera body, and full frame 35mm sensor(from Sony’s flagship a99) make a formidable little camera that best nearly every other comparable option. When shooting the rear LCD screen only gives you a taste of the outstanding 16-bit raw files did this beast is able to capture.

Admittedly, the RX1 falls short in numerous areas that can’t ignored due to its initial price tag of $2800.

Most notably the auto focus of this camera just plain sucks. It really is hit or miss. I feel as if this issue could be resolved with a firmware update, but the RX1 hasn’t received any since launch. For this type of investment one would expect more than this sluggish contrast detection AF system.

Regarding accessories, they’re just too expensive. I understand this is a premium item, and should be surrounded by such, but seriously… Why would anyone pay $250 for the Sony leather case(with no access to the SD card or battery when attached), when the Gariz version can purchased for $125? The Sony brand lens hood sells for $120, while the third-party metal hood that looks and feels the same is being sold on amazon for $7. Really the only individuals I could see purchasing these accessories are those who’ve previously considered purchasing the Hasselblad Lunar(rebranded Sony Nex-7) for $5000.

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For my style of shooting the EVF($450) is a must have, and without it I probably would have went with the Fuji X100s. I really wish Sony included it with the camera or implemented the same way they did in the RX100 III.

Weather sealing is something I feel Sony could have added at this price point. When you own something of this value, you’d like to be assured its protected against the elements(e.g. Unexpected light drizzle).

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To sum it up, the Sony RX1 is stellar tool for few photographers. If you can tolerate the sluggish autofocus and the daunting price tag, you’ll be rewarded with outstanding build, superb high-ISO performance, and top tier image quality.

Simi Tometi

http://instagram.com/justsimi_

https://www.facebook.com/simi.tometi

https://www.flickr.com/photos/simitometi/

Jan 222015
 

My Leica M6 in Scotland

By Philipp Wortmann

Hi Brandon,

It was so cool the last time I got featured on your site I just had to give it another try :)

This time I took my beloved M6 on a short trip to Scotland. I stayed in Edinburgh for a couple of days and also had the chance to take a short trip into the highlands and meet some of those legendary “hairy cows“.  As to be expected the weather was very cloudy so ended up pushing my Portra 400 to 800, which I didn’t mind at all since Portra handles that beautifully!

More pictures of the trip can be found on my flickr:

https://www.flickr.com/photos/derphilipppp/

Have a great day and best regards,

Philipp

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Jan 202015
 

Film and Digital, Digital and Film

By John Tuckey

Film vs Digital? Do we ever get tired of kicking this question around? Here’s a run of three image pairs from recent shoots where I’ve shot film and digital side by side – again. See what you think.

Pair A
digital shot from the Leica M-P (type 240) with ‘Lux 50. The film shot is off a Hasselblad H2 and HC 100mm 2.2 loaded with Ilford Delta 100

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Viewed side by side, I prefer the film. But don’t get me wrong, I’m not saying you should throw away your digital camera. In fact the list of ticks in my digital column is pretty long: I began with digital and, even now, tend to consider the digital files from my M to be my ‘main’ files. Digital capture and convenience is my primary workflow. Shooting digital allows me to easily pull gorgeous, rich, detailed and sharp 20×30 prints from my M’s files. And higher ISO flexibility in modern digital cameras gives a more flexible and easier shooting experience in available light.

Pair B
digital shot from the M-P (type 240) with ‘Lux 50. The film shot is off a Leica MP and Zeiss Sonnar 50 2 loaded with Ilford Delta 400

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Of course, digital is the professional norm now and, commercially speaking, there’s no denying film is dead. Yet many artists and amateurs alike continue to use film and not just to learn technique, but because they love it and it gives their work a USP – why?

Pair C
digital shot from the M-P (type 240) with ‘Lux 50. The film shot is off a Hasselblad H2 and HC 100mm 2.2 loaded with Ilford Delta 3200

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Probably for a lot of the same reasons I love film. When I shoot film, I not only enjoy it’s unique signature but see it as a self education tool that’s valuable even in my digital work. I think learning to shoot film builds confidence and knowledge which applies to every camera of any format. In fact, if I had to settle for one single reason to shoot film, that would be it.

35mm Film is rarely as blisteringly sharp as digital can be, and unlikely to enlarge as well without grain becoming an issue (unless you’re taking the medium format path) but…. that’s irrelevant. I took these shots the ‘hard way’, they made me think and learn as I took them, and perhaps as a result they make me smile more.

Smiles. That’s the biggest tick you can put in any list of positives.

http://john.tuckey.photography

Best regards

John Tuckey

 

Jan 192015
 

My Time With the wonderful Leica M8.2

By Justin Halim

Hello everyone!  I’m a long-time reader of Steve’s site and I’d like to share my experiences with the most influential digital camera I ever owned – the Leica M8.2.  I really can’t describe just how excited I am to write this post, as nothing I am about to write about would ever have happened if not for Steve’s site.

First some background:

A few years ago, I was starting to really get into photography with my new Canon T2i.  I loved that thing and was shooting mainly macro and still life, just learning the basics about exposure.  However, one day I was rummaging around and happened to find a Leica M6 and 50mm Summicron (in perfect condition) in my father’s cabinet.  He had completely forgot he had it, so he gave it to me.  I had always heard about Leica and its status, so I couldn’t have been happier, or luckier for that matter.  After putting a few rolls of film put through it, I was in love.

Fast-forward a couple of years; I was finishing my sophomore year of high school.  The M6 had followed me everywhere, but it was getting difficult to justify the cost of shooting primarily film (I didn’t have a job), and using the Canon just wasn’t the same after using the Leica.  So, I began toying with the idea of a digital M to get the best of both worlds – the convenience of digital, and the experience of shooting a Leica rangefinder.  I researched the M9, and was immediately turned away by the price ($6000 at the time).  Discouraged by the M9, I looked into the M Monochrom, thinking a B&W camera would be cheaper (I was pretty naïve).  Let’s just say I was disappointed once again.  I had never felt so discouraged, until one day I remembered that, numerically speaking, there must have been an M8!

With newfound hope, I did more research, but was again discouraged to find countless reviews bashing the M8, particularly for its “lack of features.” I lost hope of ever owning a digital Leica. But one day, I found Steve’s site, which had many glowing reviews of the M8.  As I read them, I began to realize that these were the first “real-world” reviews I had found of the M8, from real photographers, and not some clinical spec chart from pixel peepers.  And every single one of those reviews praised the M8 for its unique shooting experience, which was exactly what I wanted.  However, what really sold me were the pictures taken with it, which looked so much like the images I took with my M6.  Now I had my mind set on an M8.
So over the summer before junior year, I got a job and worked 60 hours/week to save up for an M8, which was a much more realistic $2000.  By the end of the summer, I had saved enough not only for the M8, but an M8.2, which I found for a great price.  I also managed to scrape enough for a Voigtlander 15mm 4.5 II (for landscapes) and Voigtlander 35mm 1.2 II (general purpose), to accompany my 50 Summicron (for portraits).

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The camera:

I won’t go too in-depth with this, as just about every other M8 (and every other M) review covers this, but this was perhaps the most solid and attractive camera I have ever owned, aside from my M6.  Compact, sturdy, and beautiful.  I had the M8.2 black version, which adds the sapphire screen, black paint, and quieter shutter.  The M8.2 just exudes stealth and beauty.  No one would see or hear me shooting with it, which made it the perfect street photography/candid camera.  If people did notice it, they were always  intrigued by it and loved having their pictures taken (Leicas are a surprisingly good way to make friends).  One especially nice quality was how clear the rangefinder was, which was much brighter than the one in my M6.  But what was most important was how surprisingly versatile the M8 was. With the 15mm Heliar, the M8 makes an astounding landscape/architecture camera – the rangefinder is especially useful when using ND filters since the viewfinder doesn’t black out when filters are mounted, which can be a problem for SLRs.

The M8 practically introduced me to street, portrait, and landscape photography.  Don’t listen to anyone who tells you Leica M’s are not practical cameras – I used the M8 for just about everything except video and macro, and got much better results than with any other DSLR I used, as well as having a lot more fun.

The experience:

Picking up an M8 after using the M6, I felt almost no difference.  The M8 is astoundingly similar to a film camera in both look and feel.  At its heart is the infamous CCD sensor that records in that unique, Leica-film way.  Even with the luxury of unlimited digital frames, I still found myself being picky about which shots I took, taking around the same number of shots as with a film camera.  Anyone who writes about M cameras mentions their zen-like experiences, and as much of a cliché as it must be at this point, I just have to emphasize this – THE M8 HAS SOUL.  It’s indescribable, and it can’t be put in a spec chart, but it is there, and it makes all the difference.  It’s why we put up with manual focus, manual exposure, and limited focal lengths.  With the M8, there is nothing between the subject and how I portray it.  And that’s what makes the M8 so versatile, just set your exposure and take the picture – no distractions, no worries or second-guesses, just confident shooting – just like with film.  I take the picture, not the camera.

Of course there were many “issues” brought up by others – 10MP, no IR filter, poor low-light capabilities, and low-resolution screen.  Honestly, I hardly noticed them:

·      – 10 MP is more than enough for me, and if anything, it forces me to get the composition right the first time around to avoid cropping later.

·       – The lack of an IR filter was never a problem – Leica gives two free IR/UV filters with every M8, even if it’s pre-owned.  But having no IR filter has its perks too: the M8, with decent glass, is blindingly sharp, and makes for a fantastic B&W and IR camera.

·       – The poor high ISO performance did get to me sometimes.  The M8 really maxed out at ISO 640, but could be pushed to 1250 if it was in B&W.  To avoid extreme post-production noise, you really have to nail the exposure at higher ISO’s.  However, my Voigtlander 35mm 1.2 (a fantastic lens) solved all my problems.

·       – The low-res screen is a very overrated “problem,” even for the M9 I suppose.  It’s perfect for working the menus, and it gives a decent view for image playback. But the M8 is so much like a film camera that I often wouldn’t even look at the image playback.

·      –  In my experience, one could easily learn to work around the M8’s supposed issues, and, if anything, become a better photographer in the end.  To anyone wanting to get into a digital Leica system, the M8 is still a great choice even 8 years after being released.

I had the M8 for a little over a year, and I took it everywhere – out into the sands of the Jersey Shore, into the bustling streets of New York City, into the festive alleys of Barcelona, and into the rainy, overcrowded streets of Shanghai and Beijing.  I used it to photograph all my family events, and even used it for the school yearbook.  Unfortunately, I sold it because my neck strap broke and the camera fell, which ended up damaging the shutter.  When I got it back from repairs the circuit board failed and it wouldn’t turn on.  I sent it back again, but decided it wasn’t worth keeping anymore.  I sold it and moved onto a Canon 6D and a Hasselblad 500CM, as I needed a video camera and wanted to try medium format.  But that doesn’t change the fact that an entire year of memories was recorded, quite beautifully, by my M8.  To this day I still regret selling it – when it worked, there really was nothing that could compare to it.  While I’m only a teen with limited experience, I definitely learned more than I ever thought I could with my M8, and that makes it all worth it.

Now I am saving up for the day I can purchase an M9.

Thank you everyone for reading, and thank you Steve for letting me write for your awesome site!

https://www.flickr.com/photos/112710288@N03/

http://instagram.com/justinhalim/

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Jan 162015
 

markseymourc

Kolkata India – Shooting the streets and smiles

by Mark Seymour – His website is HERE

My photography travels have taken me to some of the most beautiful, interesting and diverse locations but I can honestly say this was unknown territory for me and before I left I really didn’t know what to expect. The little knowledge I had of India from its unique colour and spices to its religious and cultural heritage, the ornately carved temples to the lush landscapes, the fabulous history of the maharajahs to the well broadcast poverty, did not prepare me for what I was going to experience. Kolkata, once known to the English traveller as Calcutta, it is the capital city of the Indian state of West Bengal. Kolkata is the principal commercial, cultural, and educational centre of East India and is the third most populous area in India.

My opportunity to photograph the streets and people of Kolkata came from the Hope foundation and professional photographer Mark Carey who regularly runs a week-long training workshop that in addition to providing photographers like myself the most amazing opportunity to build their personal portfolios, but also enables the Hope Foundation to raise some important funding and their profile for their valuable work with the local children.

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Over 250,000 children are forced to exist on the streets and in the slums of Kolkata. 30,000 children are trafficked into Kolkata on an annual basis to be forced into child prostitution, child labour and child slavery. The Hope Foundation was established in 1999 by Irish Humanitarian Maureen Forrest to help these children.They provide support to over 60 projects including education, primary healthcare, child protection, children’s shelters, vocational training and drugs rehabilitation. HOPE has extended its support and now provides a holistic approach to development which includes working with the children, their families and the community in Kolkata.

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Joining four other photographers we prepared ourselves as much we could before heading out onto the streets and slums that form the living areas of the local people. I can honestly say that what confronted me was challenging and life changing. But what struck me most and what I believe I captured was the spirit of the adults and children as they lived their lives, photographing everyday moments. For me the power of the images was in the expressions on their faces, there was so much joy and laughter in such difficult circumstances.

Initially they were curious and taken aback by our presence as we wandered in and out taking photographs, but they relaxed and engaged with our cameras, smiling and welcoming us into their world. I can honestly say these people touched me in a way I was not expecting. Their sense of pride and joy was humbling.

Whilst we were there we were invited to a special event put on by Hope, a picnic for some of the projects they fund. They ate, drank, played games and enjoyed colouring activities.

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I predominantly photograph my street images in black and white, but colour is an important element of visually recording India. My photos captured the very young through to the very old, living, working and getting on with their daily lives. My favourite images are of the children at play, just like children all around the world, enjoying climbing, exploring and making up their own games. The difference was in where they were found playing, not play parks and gardens, instead railway lines and amongst the confined spaces between the homes and make-shift buildings.

I travelled all the time with my Nikon D4s and two lenses The Nikkor 35mm F1.4 and the 28 1.4 although some days I alternated with the 35 and old but superb manual focus Nikkor 58 1.2. All the shots were handheld, the light was generally really good however it got dark quite early which is where the Nikon D4s really coped well as I quite often upped the ISO to 8000 to let me continue shooting without flash. I’m a great believer that it’s not about the size of the camera more about how you conduct yourself, how you move around and communicate that gets you the best images.

For me I can say that with all my heart I will be returning to India and extending my experiences of this beautiful land of extremes.

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Jan 152015
 

2014 – My year with Leica

By Jason Boucher

Long ago I read Mike Johnston’s post on The Online Photographer about a year with Leica and it would make you a better photographer. I wanted to jump in at the time, but at that time couldn’t imagine spending that much on an “old” camera and it would force me to buy a new lens. I ended up buying a used Bessa as well as a used Voigtlander lens. While the original article suggested to commit fully, I committed to at least 1 roll of film per month. In that year I relearned so much about photography. It slowed me down. It made me intentional in my shooting. It also was my 1st experience with a rangefinder and frankly, the focusing became second nature and something I preferred over the split prism I grew up with. I was happy with my Bessa and my m43 digital and DSLR autofocus kits. That year with film and my Bessa really did help me.

A couple of years ago, things changed for me. I took a new job where I was not providing social content and digital image assets to the company I work for. This freed me a bit from photography as work. I could do photography for me and for me only. Coincidentally at the same time, my friend at my local camera store, National Camera Exchange, called me one day and said they got a used M9 in mint condition. I went in and held it in my hands. Wow. It was love and lust at first sight. But…cash was still a problem and I left instead with a used M8. Figuring I could give it a try and not loose much money. I had 1 M -mount lens at the time, a Zeiss 35 f2.8, I attached it and shot it almost exclusively for a couple of months.

Here are a few shots from my summer vacation and family visit in North Dakota with the M8

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It was a lovely set up and gave me a few images that I truly cherish. That old M8 has some quirky but special mojo. To be honest, it is still my favorite black and white, digital camera of all time and one day hope to own one alongside my newer Leica digital M camera. That missing IR filter does something amazing to skin and skin tones. But…I just could not handle the noise of shutter as well as the inability, at least with my single lens I owned, to shoot at higher ISO’s and in lower light, something I do a lot. So I put it away and shot it on special occasion.

About mid way through 2014, I took the M8 on a trip again and was reminded of both the experience and the glorious output. So…I sold everything else I owned including my new Fuji XT1 as well as the M8 and came home with a used M240. Over the course of the fall I slowly added some used M mount glass. I know much has been written about the M240 and how some folks prefer the M9 CCD sensor. I had some experience with the CCD with the M8 and in certain instances do prefer it, the overall shooting experience, capability as well as the higher ISO capabilities make the M240 an easy and preferred choice for me. It just works.

M 240 Images…

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My Leica M240 has become an extension of my hand as well as the most amazing creative tool I have ever used. I am no professional and shoot only for myself, but I am pleased with and believe the camera has in fact been a driving factor in changing my personal style and satisfaction with photography. I know that for each of us that we all respond uniquely to gear and many feel that Leica’s are a bunch of hype. I thought that too, but in the end, I feel that it did help me develop, grow and output better images.

So….Even though I really only starting using Leica cameras halfway through 2014, I still consider it my year of Leica.  Hope you enjoy them and my wish to all of you in 2015 is that you find that muse, that tool, that thing that inspires you and helps you develop your craft and art.

Cheers

Jason
www.imaginegnat.com

Jan 132015
 

OLYMPUS DIGITAL CAMERA

Italy, Transylvania, Austria with Sony A7s, Olympus E-M1 and Leica

by Neil Buchan-Grant – See all of his guest posts HERE

Hi Steve,

I thought it was about time to share with you some of the pictures I’ve been making over the last year. As ever my photography has been mostly made with the Olympus EM1 but following on from your enthusiastic response to the Sony A7s, I decided to trade in my A7 for one. I only use the Leica M 50mm Summilux ASPH on the A7s but its a combination that, although limited in application, has proved to be a great one.

I spent most of the summer at home in England enjoying the fine weather we had here, but I booked myself a week of shooting in a villa on Lake Como in northern Italy for the end of August. The village I stayed in was buzzing as George Clooney was in town shooting his latest coffee commercial just before his wedding in Venice. I then had a very fruitful week in the marvellous city of Sibiu in Transylvania. I was given backstage access to a fashion show there which led to some intimate low light shots made with both cameras.

This was made in the hotel Villa D’Este, in the games room, with a Sony A7s and Leica M 50mm Summilux, 1/160s, f1.4 ISO 1600 Model: Thorn

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Shot with the Sony A7s + Leica M 50mm Summilux in available light, 1/320s, f1.4 ISO 100 Model: Bethany Cammack

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Another shot in the city of Sibiu made with the Olympus OMD EM1 + Leica DG 25mm 1.4, 1/200, f1.4, ISO 200, available light. Model: Amalia Beksi

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In London this shot used only available light and was made with the OMD EM1 and the new 40-150mm 2.8 lens @ 45mm, 1/50s, f2.8, ISO 1600

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During a quick break in Vienna Austria, I was lucky to come across an exhibition featuring the work of a New York fashion photographer of the 1950’s called Lillian Bassman. I found her work incredibly beautiful. She was a contemporary of the likes of Richard Avedon and Irving Penn but for me she took things to new levels of artistic endeavour with her innovative printing techniques and her eye for elegance and drama. I’ve since bought her book “Women” and I now long to work with long-necked women and couture hats!

This was shot in the villa on Lake Como with the Sony A7s + Leica M 50mm Summilux, 1/200s f1.4 ISO 800, available light (grain added later in Silver FX) Model: Donutella Viola

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This was made in the villa on Lake Como with some continuous lights I had brought with me. Shot with the Olympus OMD EM1 + Olympus 17mm 1.8, 1/80s, f2.8, ISO 800 (grain added later in Silver FX) Model: Chiara Sgarbossa

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I made this shot in the garden in Como with the Sony A7s and Leica M 50mm Summilux, 1/80s, f1.4. ISO 100, available light Model: Jessica De Virgilis

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Another shot of Jessica made at the edge of Lake Como. It was shot at dusk with an off camera flash through a mini softbox on the Olympus OMD EM1 and the Olympus 12-40mm 2.8 lens @ 12mm, 1/250s, f3.5, ISO 200. The image is a composite of the original colour version and a black and white conversion, blended to give a dramatic effect. Model: Jessica De Virgilis

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Shot with the Sony A7s + Leica M 50mm Summilux in available light, 1/320s f1.4, ISO 100 Model: Bethany Cammack

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Finally the prospect of more dark winter skies was too much so I booked a week in the Spanish Canary Islands over Hogmanay. I had the new Olympus 40-150mm 2.8 PRO lens on loan, it just went back today..:( and I was dying to use it in good light. Its’s a lens which I would happily recommend to anyone with a micro four thirds camera, it’s bitingly sharp! By some ridiculously lucky chance encounter, I ended up shooting a UK model who was there on vacation. This gave me some great opportunities to test this new lens on something other than landscapes. Thanks again for the opportunity to share these pictures with your readers.

I took this shot backstage at the fashion show in Transylvania with the Olympus OMD EM1 + 45mm 1.8, 1/60s, f1.8, ISO 3200 available light, (grain added later in Silver FX) Model: Raluca Mararu

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This was also made at the same event with the OMD EM1 + 17mm 1.8, 1/100s, f1.8, ISO 1000, available light (grain added later in Silver FX Model: Rosalinda Mihaela Zadaroinea

Behind the Catwalk

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This image was made in the changing rooms with the Sony A7s and Leica M 50mm Summilux, 1/125s, f 1.4, ISO 1000, available light, (grain added later in Silver FX) Model: Cucerzan Adelina

Behind the Catwalk

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During my stay in Sibiu I was lucky to work with some of the models on locations in the city. This was made with the Olympus OMD EM1 + 12-40mm lens, 1/320, f2.8, ISO 200 using an off camera flash through a mini softbox (18”) Models: Amalia Beksi and Flavia Bodi

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Kind Regards
Neil

Neil Buchan-Grant
http://buchangrant.com
British Travel Press Photographer of the Year

A few more…

This landscape in Fuerteventura was made with the OMD EM1 + 40-150mm 2.8 PRO @ 40mm, 1/320s, f4, ISO 200 Polariser

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This image was made at sunrise in Fuerteventura with the OMD EM1 + 12-40 2.8 PRO @ 12mm, 1/2500s, f2.8, ISO 200, Polariser

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Another one in Fuerteventura this time with the Olympus OMD EM1 + 40-150mm 2.8 PRO @ 115mm, 1/1600s, f2.8, ISO 200 available light Model: Bethany Cammack

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This picture was made in Fuerteventura in available light with the OMD EM1 + 45mm 1.8, 1/3200s, f1.8, ISO 200 Model: Bethany Cammack

OLYMPUS DIGITAL CAMERA

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This picture was made during a rehearsal of the English National Opera’s Nutcracker at the Colosseum in London. It was made with the OMD EM1 + 75mm 1.8 lens, 1/400, f1.8, ISO 3200 (grain added in Silver FX)

OLYMPUS DIGITAL CAMERA

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This photo of people watching a firework display in Winchester was made with the Sony A7s and Leica M 50mm Summilux, 1/125s, f1.4 ISO 25,600

DSC04874-Edit

Jan 132015
 

The Leica M9 held its relative value better than any DSLR of its time

By Karim Ghantous

leica-m9_1

It’s noteworthy that the Leica M9 has held its value so well since its launch in 2009. It does produce beautiful photos and after owning an M8 (but not an M9) I have to say that the digital M system is great. There are one or two features which I would call stupid – such as the average LCD and noisy shutter – but overall the M9 is a damned fine camera, despite its quirks.

I’m comparing it to four high end DSLRs from about the same period, which were available as the M9 launched: the Canon 1D MkIV, the Canon 1Ds MkIII, the Nikon D3X and the Nikon D3S. I’m also including the D300S out of interest. It was launched at almost the same time as the M9. It is at the other end of the price range, but it is a professional grade camera.

NB: The fact that competing cameras are not usually launched at the same time does not allow for straightforward comparisons.

The 1Ds MkIII was launched about two years before the 1D MkIV, but was not replaced until 2011 with the 1DX. I was almost not going to include this camera – it is unfair to compare a camera significantly older than the M9. However, it was one of Canon’s top end cameras at the time the M9 launched. So depreciation will be compared with the cheapest known discounted price of $5,999.

The 1D MkIV has a crop factor of 1.3x, which some would consider an advantage, depending on their preferences. (There could very well be a strong market today for a RF camera with the same sized sensor as the 1D and the M8).

The D3X was only one year old when the M9 launched so I thought it was fair to include it without a handicap.
Here is the summary of the DPReview articles on the cameras in this comparison. Dates are announcement dates, not review dates:

Leica M9: $6,995, 18Mpx, September 2009.

Nikon D3S: $5,199, 12Mpx, October 2009.

Nikon D3X: $8,000, 24Mpx, December 2008

Canon 1D MkIV: $4,999, 16Mpx, October 2009.

Canon 1Ds MkIII: $7,999, 21Mpx, August 2007.

Nikon D300S: $1,699, 12Mpx, July 2009.
Here are observed used prices from eBay USA. All auctions took place in December, 2014, and were for bodies which were either in VG or EXC condition:

Leica M9: $3,200 (body), $2,950 (body)

Nikon D3S: $2,025 (body), $2,025 (body)

Nikon D3X: $2,425 (body), $2,060 (body)

Canon 1D MkIV: $1,875 (body), $1,950 (body)

Canon 1Ds MkIII: $1,650 (with two zooms and light meter); $1,450 (body)

Nikon D300S: $512 (body), $450 (body)
There are two ways to calculate depreciation: percentage and dollars. All values used in the calculations are averages for each camera model.
First, the depreciation in dollars from the official list price. A lower score is better:

M9: $6,995 – $3,075 = $3,920

D3S $5,199 – $2,025 = $3,174

D3X: $8,000 – $2,243 = $5,757

1D MkIV: $4,999 – $1,913 = $3,096

Canon 1Ds MkIII: $5,999 – $1,550 = $4,449

D300S: $1,699 – $481 = $1,218

Second, the depreciation in percent from the official list price, the formula being 100-(100/LaunchPrice x UsedPrice). Again, a lower score is better:

M9: 56%

D3S: 61%

D3X: 72%

1D MkIV: 62%

1Ds MkIII: 74%

D300S 72%

It’s important to have both the dollar amount and the relative amount. The Leica depreciated less, relatively, than the other cameras. But you lost less money on the D3S, D300S and 1D MkIV.

One M9, brand new in the box with not a single shutter actuation, sold for $4,000. So on that particular camera, depreciation was only 43%: 13 percentage points better than average. I did not include it because it did not represent at typical example.

The M9 does best by a small but clear margin in terms of relative depreciation; and it comes third in terms of outright depreciation, excluding the D300S. It is slightly surprising to see the D3X perform so poorly, given its very good image quality.

In one way, the D3X is a bargain if you’re after a second-hand camera. I would argue that if you’re taking photos of motionless cars or some such thing, and if you couple it with the best Zeiss lenses you can afford, you’d be doing very well.

Here is the summary of the DxOMark scores for DR and ISO:

Leica M9: 11.7, 884.

Nikon D3S: 12.2, 2290.

Nikon D3X: 13.7, 1992.

Canon 1D MkIV: 12, 1320

Canon 1Ds MkIII: 12, 1663.

Nikon D300S: 12.2, 787.

With the exception of the D3X, these cameras have similar DR. The D3S and D300S have an edge – half a stop over the Leica. The D3X has two stops more than the Leica and performs significantly better than any camera here. Canon users must be questioning why even their newest models are still limited at 12 stops. Nikon and Leica (and Sony) users must be happy at the progress made over the past few years. The M type 240 is one stop better than the M9; the D4S is one stop better than the D3S but does not match the D3X.

In terms of the ISO figure, the three big DSLRs have between 1 and 1.5 stops over the M9, at most. It’s worth noting that the M9’s highest useable (i.e. real world) ISO is underestimated, but I don’t know if that’s also true for the other four cameras. The Canons aren’t that hot compared to the D3S, but have higher pixel counts.

Thanks to modern cameras like the D4S and especially the A7S, and the occasional whining about the M9’s limits, it’s tempting to look back with misty eyes and overestimate the ISO capabilities of older DSLRs. The reality is a bit different.

So, does this matter?

Cameras are not investments – they are disposable. It’s the images which are supposed to last. Taking reasonable care of your equipment makes sense, of course, because if you don’t then you’ll get crap photos, unless you don’t care about misaligned lens mounts, inaccurate focus, light leaks and sensor dust. But the camera serves the photograph.

Also, the big DSLRs are more of a niche product (read, “sports”) than the M9. The D3X isn’t a sports camera as much as it is a studio or landscape camera. I suggest that the M9 is more suitable than any of the DSLRs for reportage, landscape and portraiture (and travel, if that is a real category). Finally, overall depreciation depends on which lenses you bought, and there are plenty to choose from for each system, both OEM and third party.

I compiled this data mostly on a whim, and partly to show that Leicas are not as expensive as people think (even if you count lenses, but that is beyond this article).

Sometimes, a person might say that they can take the same pictures with a $500 Nikon, Canon, Pentax or Sony DSLR as they can with a $6,500 Leica. Of course they can. But Nikon and Canon do make $6,500 cameras – today. And to repeat, the M9 is arguably better suited to most applications (but distinctly unsuited to macro and many sports).

Finally, the M9’s market value is possibly lower than it should be. The noisy shutter and sensor issues no doubt are affecting used prices. The availability of the M-E might also contribute.

So, to answer the question of which is the ‘smarter buy’, I’ll leave that to you.

URLs for all citations:
DPReview (for price):

M9
http://www.dpreview.com/previews/leicam9

D3S
http://www.dpreview.com/reviews/Nikond3s

D3X
http://www.dpreview.com/reviews/nikond3x

1D MkIV
http://www.dpreview.com/reviews/canoneos1dmarkIV

1Ds MkIII
http://www.dpreview.com/reviews/canoneos1dsmarkiii

D300S
http://www.dpreview.com/reviews/nikond300s
DxOMark scores:

M9
http://www.dxomark.com/Cameras/Compare/Side-by-side/Leica-M9___640

D3S, D3X, D300S
http://www.dxomark.com/Cameras/Compare/Side-by-side/Nikon-D3s-versus-Nikon-D300s-versus-Nikon-D3X___628_614_485

1D MkIV, 1Ds MkIII
http://www.dxomark.com/Cameras/Compare/Side-by-side/Canon-EOS-1D-Mark-IV-versus-Canon-EOS-1Ds-Mark-III___629_436
eBay items used for this post:

M9
http://www.ebay.com/itm/Leica-M9-Digital-Rangefinder-and-signed-copy-of-Stephen-Colbert-039-s-America-Again/261703507813ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $2,950)

http://www.ebay.com/itm/Leica-M9-digital-rangefinder-Black-EXC-boxed-w-acc-Only-1132-activations-/391004707220ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $3,200)

http://www.ebay.com/itm/Leica-M9-18-0-MP-Digital-Camera-Black-Body-Only-NEVER-USED/131382090750?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D20140602152332%26meid%3D91b545c3992b4abf81aa5fed3f4055e1%26pid%3D100011%26prg%3D20140602152332%26rk%3D6%26rkt%3D10%26sd%3D391004707220 (body, $4,000, brand new in box, not used in this comparison)

D3S
http://www.ebay.com/itm/Nikon-D3s-12-1-MP-Digital-SLR-Camera-Black-Body-Only-/141507854653?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $2,025)

http://www.ebay.com/itm/Nikon-D3s-12-1-MP-Digital-SLR-Camera-Black-Body-Only-/151517389748?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $2,025)

D3X
http://www.ebay.com/itm/Nikon-D3x-Camera-w-original-box-and-contents-plus-extra-battery-/231422217996?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $2,425)

http://www.ebay.com/itm/Nikon-D3x-24-5-MP-Digital-SLR-Camera-Black-Body-Only-/261709201062?autorefresh=true&_trkparms=gh1g%3DI261709201062.N7.S2.M202.R4.TR6&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $2,060)

1D MkIV
http://www.ebay.com/itm/canon-1d-mark-iv-/301444446130?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $1,875, reserve not met)

http://www.ebay.com/itm/Canon-EOS-1D-Mark-IV-16-1-MP-Digital-SLR-Camera-Body-Only-2-Batteries-EXC-COND-/231425104475?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc ($1,950)

1Ds MkIII
http://www.ebay.com.au/itm/Canon-EOS-1Ds-Mark-III-21-1-MP-Digital-SLR-Camera-Black-Body-Only-/251748797630?ssPageName=STRK%3AMEWAX%3AIT&_trksid=p2047675.l2557&nma=true&si=J4HjVpcOXF8Di88U05sc0SvZVe4%253D&orig_cvip=true&rt=nc (body, $1,450)

http://www.ebay.com.au/itm/Canon-EOS-1Ds-Mark-III-Camera-Body-with-Accessories-/261693511617?ssPageName=STRK%3AMEWAX%3AIT&_trksid=p2047675.l2557&nma=true&si=J4HjVpcOXF8Di88U05sc0SvZVe4%253D&orig_cvip=true&rt=nc (body and two zooms, $1,650)

D300S
http://www.ebay.com/itm/Nikon-D300S-12-3-MP-Digital-SLR-Camera-body-with-EXTRAS-Low-Shutter-Actuations-/191445022871?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $512)

http://www.ebay.com/itm/Nikon-D300S-body-DSLR-plus-extras-Excellent-Condition-/181613904582?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2047675.l2557&nma=true&si=p%252B89YZd5ehhLC4ucS8kv83crRbk%253D&orig_cvip=true&rt=nc (body, $450)
Amazon listings (yes, it’s weird that most these cameras are still listed with new prices, so please don’t shoot the messenger):

M9
http://www.amazon.com/Leica-M9-Digital-Finder-Black/dp/B002NX13LC/ref=sr_1_1?s=electronics&ie=UTF8&qid=1418885238&sr=1-1&keywords=leica+m9

D3S
http://www.amazon.com/Nikon-Digital-Camera-3-0-Inch-Capability/dp/B002SQKVD0/ref=sr_1_1?ie=UTF8&qid=1418888285&sr=8-1&keywords=nikon+d3s

D3X
http://www.amazon.com/Nikon-24-5MP-CMOS-Digital-3-0-Inch/dp/B001MJ03U0/ref=sr_1_1?s=electronics&ie=UTF8&qid=1419476094&sr=1-1&keywords=nikon+d3x

1D MkIV (no listing with a new price, so these are only used prices)
http://www.amazon.com/gp/offer-listing/B002TG3ZYQ/ref=dp_olp_0?ie=UTF8&condition=all&sr=1-1&qid=1418889804

1Ds MkIII
http://www.amazon.com/Canon-1D-Mark-III-Digital/dp/B000NP1C5O/ref=sr_1_2?s=electronics&ie=UTF8&qid=1418885227&sr=1-2&keywords=canon+1ds+mark+iii

D300S
http://www.amazon.com/Nikon-12-3MP-DX-Format-Digital-3-0-Inch/dp/B002JCSV6M/ref=sr_1_1?ie=UTF8&qid=1418884964&sr=8-1&keywords=nikon+d300s

Finally, and not necessarily relevant, my favourite camera review so far:
http://www.overgaard.dk/leica-M9-digital-rangefinder-camera.html

 

 

Jan 122015
 

The Panasonic LX7. A $349 Backup to my Leica M

by John Kurniawan

880960

Hi Steve and Brandon…Wish you both a Great 2015!

Bought a Panasonic LX7 as a back up to my M system.

I choose LX7 as a camera for my daughter as well a back up cam when I am traveling. Why LX7 ? Just love its size and features which suit my need like macro, zoom and manual mode. The manual mode comes handy when in low light condition so I can mimic the RF experience.

Almost a year with LX7, both my girl and me are happy with it, here are some the photo produce by this funtastic cam. Ones can produce good photo no matter what the camera is, most important is how ones capture lights correctly.

Thank you and hope to see more good post by talented photographer at your site

Best Rgds

P1010635

P1010432-Edit

P1010770-Edit

P1000213

P1000164

Jan 122015
 

My Fuji X100T Experience

by Vasu Jagannathan

Hi Steve,

Here is my User Report on the Fujifilm X100T digital camera.

My X100T is black. It is beautiful to behold and, as befits a Compact, it is easily carried in the hand. But, as I did not find the grip to be super comfortable while shooting, I will be attaching Fujifilm’s MHG-X100 handgrip in the near future. Since that’s my only real caveat one can guess that I really like this camera!

I took it out just one day after receiving it without making any prior practice shots. As I’m one of those who never had either one of the preceding X100 or X100S cameras in the series, it says a lot for the X100T that I was able to get comfortable with it within the space of a single photo shooting session. Just by way of background, the X100T is a 23 mm (or a 35 mm EFOV) fixed-lens camera with an APS-C sized XTrans II sensor packed inside a compact body.

Picture 1 - Entrance National Gallery of Art 12 Dec 2014-DSCF0002

 

In taking the pictures shown here, I used Aperture Priority, changing the f values as needed. I also used the Auto ISO option with the range 200 to 6400. For Metering I chose the Spot option and Focus was Auto. In order to feel out the camera’s performance, I shot some pictures wide open at f/2.0 (see Pictures 3 to 6), pushed the ISO to 1600 (see Picture 5), and fired off handheld at 1/40s (see Pictures 2, 4 and 5).

 

I also switched in the built-in Neutral Density Filter for Pictures 7 and 11. All pictures were shot in Raw Mode and converted to Jpeg in Adobe LR 5. One small point. When it comes to those Fujifilm cameras that use a XTrans digital sensor, I am really not sure whether Adobe LR is really the best thing to use for demosaicing the XTrans Raw files. I haven’t yet explored using other software such as Iridient which may be more optimal for Xtrans. I believe that aspect should be taken into account when looking at the color rendering in these pictures.

By way of background information, the attached pictures were taken in Washington DC – some inside the National Gallery of Art where the use of Flash is prohibited – and some outside. I am not going to describe every picture word by word as that would be boring. Rather, I would like to point to certain aspects of some of the images that speak to the performance capabilities of the X100T camera.

Pictures 2 through 6 were taken inside the Gallery where the light is subdued mostly for the sake of preserving the paintings. More specifically, Picture 2 was a bit challenging for the X100T because it was shot in a dark tunnel between two wings of the Gallery with myriads of small decorative type of lights that went on and off.

Picture 2 – 1/40ths

 

Picture 2 - Connecting Tunnel National Gallery of Art 12 Dec 2014-DSCF0003

I must have gotten this one in the full-on cycle. The ISO was 1250. Even so, the camera took this in stride at a shutter speed of 1/40s.

Below – Pictures 3, 4 and 5

Picture 3 - Inside The National Gallery of Art 12 Dec 2014-DSCF0006

Picture 4 - Inside The National Gallery of Art 12 Dec 2014-DSCF0007

Picture 5 - Inside The National Gallery of Art 12 Dec 2014-DSCF0009

 

Picture 6 which shows the original Little Dancer sculpture by Degas currently on exhibit here.

Picture 6 - The Little Dancer by Degas in The National Gallery of Art 12 Dec 2014-DSCF0010

The lens was held wide open at f/2.0. Among other things, I think the X100T nicely captured the Dancer’s reflections in the surrounding transparent box. All in all, the light and shadow aspects seemed to be well-handled by X100T in these indoor set of pictures.

Stepping outdoors, Picture 7 was taken in sunlight so bright that I decided to trigger the built-in Neutral Density Filter for this one.

Picture 7, ND filter engaged.

 

Picture 7 - Fountain outside The National Gallery of Art 12 Dec 2014-DSCF0014

Additionally, I shot this one with a shutter speed of 1/2500s just so I could freeze the motion of the fountain’s water jets. In this situation, the X100T set the Auto ISO to 850 and captured a good quality image. In all these pictures, the actual exposure values used in developing the Raw via Adobe LR 5 are of course very subjective, being my personal choices. Someone else may have developed the light and shadow differently but I believe that the intrinsic quality of the image produced by the X100T would still have been just as good.

Pictures 8, 9, and 10

Picture 8 - Pennsylvania Avenue Washington DC 12 Dec 2014-DSCF0015

Picture 9 - The Capitol Washington DC 12 Dec 2014-DSCF0018

Picture 10 - The Supreme Court Washington DC 12 Dec 2014-DSCF0021

 

Picture 11 was a challenge for the X100T due to a great contrast in light (the flaring sunlit cloud) and deep shade (the Library of Congress’ Jefferson building).

Picture 11 – f/16

 

Picture 11 - The Library of Congress Jefferson Building Washington DC 12 Dec 2014-DSCF0022

I switched on the built-in Neutral Density Filter for this one and stopped down the aperture to its smallest f/16 value. I hope the picture is suitably dramatic as well showing a nice performance by X100T. The inspiration for the last picture, Picture 12, was the interesting cloud hovering over Union Station.

Picture 12

 

Picture 12 - Union Station Washington DC 12 Dec 2014-DSCF0024

It’s the kind of situation where a Compact like X100T comes perfectly to hand and the fact that it has a large APS-C sized sensor gives one the confidence that you can pull off a good shot with a decent workable dynamic range in the Raw file. To finish up, I believe that this camera will not substitute for a top notch full frame DSLR or a Leica M Rangefinder in situations where that type of camera is needed. But what the X100T does, it does well. While it is not a pocket camera like the Ricoh GR, still it is easily carried in one hand or in a briefcase or messenger bag.

Its greatest asset, perhaps, is that someday when you are out there and see something so totally photoworthy that it would be a shame to depend on a cell phone camera with all its inherent limitations, then out comes your X100T and, then and there, you will be able to capture a high quality image that is all yours to savor at your leisure. Yes, from that perspective at least, this camera is a keeper.

You can purchase the X100T at Amazon HERE or B&H Photo HERE OR PopFlash.com HERE

The new Thumbs up is now available for the X100T as well, HERE.

Jan 092015
 

How I managed to like my photos

By George Mastrokolias

Hi Steve and Brandon,

I’m George Mastro from Piraeus, Greece. I’m into photography about 10 years, but as a programmer I was actually only into the specs of cameras and not actually photography itself. I was hooked by reading reviews and I suppose I got addicted on reading all about the latest gear even though I didn’t understand all of the details at the beginning.

I had a small compact Sony at the time (2005-2008) and after a few years, dSLRs had matured enough so I thought that if I could buy one I would be able to take better photographs. So after a looooooot of reading I bought the Canon 40D with a Tamron 17-50mm f/2.8 which was a super combo. But I wasn’t pleased with the results. I was very disappointed indeed. I only had taken about 3k photos and I put the camera on an auction as I was sure it wasn’t the right camera and maybe I needed a 5D or something. But the problem was not the camera. It was the weight of it. It was a heavy combo and I couldn’t take it with me everywhere, so after a whole year the counter was only 3k and those were from the first month only!

Then mirrorless came into play and I bought the nifty NEX-5. As a matter of fact I had better shots with this camera but it was only because I was shooting more and more with it. But again not so mush as I wanted. I had to carry a small case along with it. That meant that I didn’ t had a camera always with me.

Then the magic happened! I bought an iPhone 5. Yes a phone, I know. But I finally started to shoot everyday hundred of photos. I realized that I liked it a lot. Much more than just reading for camera specs and gear. I also took a part in a contest and won! Yes I know! With a phone!!! It came in the top 5 among 3500 participants. That’s the winning photograph:

unnamed

The contest was about photographing the public transportation of Athens. Winning the contest was the event that made me prouder that ever and then I became ever happier hearing that my photograph was all over the public metro stations and even in a gallery inside the biggest metro station of Athens!

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Then I was reading and searching everyday of the way I could buy myself a new camera that would be better from a phone but also I could carry it always with me and that brought me to your blog. It was the Ricoh GR. I was sure I made the perfect choice and I know that today because I have taken 10x more pictures with this camera than every camera that I had before combined! Here are some shots:

unnamed

unnamed

unnamed

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Do you want to know what’s the funny part behind all the above photos? They are all taken on my way to work. Why? Because I have my camera always with me. I know it has became a cliché but “The best camera is the one you have with you” by far! I now like my photos more and more every day. I know that I have a lot of things to learn and I am not perfect but I own the GR for about 9 months and I think I’m moving towards the right direction. Enjoying photography as an experience!

My addiction about camera specs is now taken over by learning every day about film cameras. I bought myself a Yashica Electro 35 CC that got me my first Flickr Explore

unnamed
Can you image that? My most liked photo is from a camera 40 years old! What camera gear and specs are you talking about people? I stopped worrying about that for sure. Next thing is to be a red dot owner, but I live in Greece so I think an M2 would be just fine. Until then, cheers from Pireaus!

You can check my Flickr here ;) https://www.flickr.com/photos/georgemastro

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