Jul 212014
 

USER REPORT: The Olympus 35mm f3.5 Macro and Samyang 85 f1.4 on the Panasonic G6

By Francis Thompson

Hi Steve, I’d like to share my experiences of shooting with my Panasonic G6 and a couple of interesting lenses.
First, a (very) brief introduction; I’m a design student from England with an interest in photography, and I’m currently in Ireland on a work placement (designing UAVs to carry the likes of RED cameras!) Along with my G6 and 20mm f1.7 II, my camera bag usually includes two rather less conventional, non-native lenses – first, the Olympus 35mm f3.5 macro, and secondly the Samyang 85mm f1.4. The Olympus 35mm f3.5 macro is a Four Thirds lens; as the previous owner of an E-420, this is the one lens I hung onto. With the Panasonic 4/3-MFT adaptor, it’s very well-balanced on the G6, and autofocus actually works better than it did on the E-420. That’s not saying a whole lot though; AF is incredibly slow, hunting in all light and missing AF pretty regularly. However, there’s a whole raft of better choices in native MFT at similar focal lengths. Where this lens shines is up close and personal. With a maximum magnification of 1:1 (2:1 35mm equivalent) this lens lets you get very close. At 35mm, it’s possibly not the best for some more shy subjects such as butterflies, but for more static subjects it’s a great choice. MF is very usable, especially using focus aids or peaking in MFT bodies.

Whilst it lacks some macro specific features like focus limiting, it’s worth considering that at the time of writing, a new 35mm macro plus 4/3 to MFT adaptor would still set you back considerably less than either the Panasonic or Olympus MFT native macro lenses.
The Samyang 85mm f1.4 is a brute of a lens. Big, heavy, tough to focus…yet somehow, I find myself inexplicably drawn to it time after time. Shooting handheld with the G6 can be a pain, as supporting the weight of it often leads to accidental button presses. Whilst the lens balances somewhat poorly on the G6, I imagine many of the smaller bodies would be even more difficult to use with it; GH3/4 and EM1 users might have more luck. Other associated issues with it are very shallow DOF wide open, making focussing difficult, and the fact it doesn’t have a hard infinity stop (mine focusses a fraction past infinity). The relatively long focal length also limits low light handheld performance (the unbalanced nature of the body/lens combo leads to realistic usable shutter speed limit of 1/250s.)

The problems don’t stop there; the lens is soft wide open, the included lens hood and cap aren’t great, and the 72mm filters it takes tend to be a fair bit pricier than the usual 52 or 58mm found on many MFT lenses. But somehow, despite all the problems, despite the tens of just-missed-focus images in my folders, the big 85 is the lens I leave on my camera most of the time. It’s a lens that makes you work for good shots, but I for one enjoy the challenge and the results it presents when you get it just right.
All images shot in RAW, minimal processing in ACR.

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Jul 212014
 

The Sony NEX-5R with Russian lenses

By Freddy Robles

Hi Steve, Greetings from Mexico, well first of all I want to say I’m a fan of yours for a long time and congratulate you for this site because is truly inspirational.

I write you from the little magic town of Cuetzalan. Cuetzalan is a small town set high in the hills in the north of the Mexican state of Puebla , 183 kilometers from Puebla , the state capital. I lived in NY for a while and it was there where I grew the interest in the photography, street photography and mobile photography (iPhoneography) started with the mirrorless cameras and now that I have returned to my country again I have had the fortune to travel widely in different communities and learn more about our mexican culture.

Cuetzalan offers a spectacular mosaic integrating the exuberant subtropical vegetable proposal with its falls and its water sources; it also offers its surprising geologic structure, its remote past and its traditions which are recalled in clothes, in celebrations and rites surprising. This tiny town surrounded by a tropical forest filled with waterfalls, grottos, archaeological site, colonial buildings as churches and coffee plantations also has like characteristic the existence of an endless number of underground caverns. Although the majority of them are not accessible to the public, these caves have stirred up the interest of national and foreign investigators.

The climate of the town is semi-warm humid with rain throughout the year, favoring flora and cloud forest tree species with sweetgum and ornamental flowers such as orchids, Calla Lilies, azaleas, hydrangeas and ferns.

Most of its population is from the Nahuatl culture that still preserve their customs and traditions. So I started wearing the nex5R, everywhere, my main lens is the Jupiter-8 50mm f2 and Industar-69 28mm though the Sel35mm f1.8 fascinates me, the tones in B / W that produce these Russian lenses are phenomenal. Thanks to this blog, Steve, I used more the VSCO filters, IMO, are very essential, useful and give a radical change to your photos, and I’ve even made ​​several shots with the iPhone and using these filters in VSCOcam, are incredible .
Ahead are some pics of “The Magic Town Cuetzalan”

1.-image of the ”litte boy” nex7- canon 135mm f/3.5 ISO200 1/100s

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2.-image of the ”collecting coffee bean” nex5R -Sel50 mm f1.8 f2.2 ISO 400 1/100s

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3.-image of the ”the boy behind the school gate” nex5R -SEL18-55mm 40 mm f 4.5 ISO 100 1/60s

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4.-image of ”the 4 boys” nex5R -SEL18-55mm f6.3 ISO 200 1/100s

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5.-image ”la abuela” nex5R- SEL18-55 mm 55 mm f5.6 ISO200 1/160

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6.-image ”thinking” nex5R -SEL18-55mm 52mm f/5 ISO 200 1/160S

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7.- image of “Alone ” nex5R-Leica APO 135mm f3.4 f/3.4 ISO100 1/250s

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8.- image of “two guys ” nex5R-Industar-69 28mm f2.8 ISO100 1/400S

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9.-image of “strong look ” nex5R- Leica APO 135mm f3.4 ISO 200 1/100s

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10.image of ”nahua women” nex5R-Leica APO 135mm f5.6 ISO100 1/200s

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11.- image of ”Little Lupita” nex5R -SEL18-55mm f/8 ISO200 1/160S

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12.- image of ” green and cloudy”, nex7 – SEL55-210mm 62 mm f8 ISO400 1/160

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13.-image of ” Las amacas” nex7-SEL16mm f2.8 f22 ISO400 1/10s

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14.-image of ”Yohualichan” nex7-SEL35mm f1.8 f/13 ISO100 1/15s

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15.- image of ” Cuetzalan” nex7-SEL50mm f/1.8 f/9 ISO100 1/200s

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16.-image of ”Voladores de Cuetzalan” nex7 -Voigtlander Color Skopar 28mm f/2.8 f/5.6 ISO 200 1/400s

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Jul 192014
 

Hello Steve,

My name is Hiroyasu Hosoya and I am Japanese amateur street photographer. I am living in Barcelona since 27 years ago. (I am 32yo).

I started shooting, 7 years ago, Landscape pictures because of influence of my girlfriend who loves hiking, but as I am a big fun of “critical situation” and “close photography” I turned to the Street Photography. During a couple of years I was shooting with Leica camera but 6 month ago, I had an incident, all my Leica gear has been stolen in the City on daylight… so now a days I am shooting with Fuji x100 black edition that gives me a RF feeling. I am starting to make my web sites and also large printing for the near-future exhibition here in Barcelona. I think all pictures must printed and “BIG”!!
You can see in my Flick Site (www.flickr.com/photos/hiroyasuhosoya) almost the major part of pictures were taken in Asia (Japan, Thailand, Hong Kong stc..) during my trips.

http://www.alstom.com/power

Here my favourite pictures.

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Jul 192014
 

40mm, the blind frame

by Daniel Schaefer

40mm, the blind frame.
As any photographer building out a kit knows, the stresses of balancing both budget, and usability when purchasing lenses is always a daunting challenge. When I was an SLR shooter, I always tended towards two fields of view, primarily 35mm for my everyday carry, and 50mm for portrait work. I was however always frustrated by the limits of the two and found myself stuck switching more often than I would like.

I was never entirely able to settle the frame in a way that I liked, 35mm was near perfect horizontally, but for a vertical portrait I found it unflattering, the 50mm had the opposite issue, near flawless for the vertical frame, but far too tight for any horizontal image, far too isolating to show scene the way I wished I could.

I was one day lucky enough to be handed a friends beautiful silver M6, with the task of putting the long retired workhorse back to good use. The task then came down to finding a lens to put the camera to use with. I’ve spent the past few years doing freelance Vintage equipment maintenance, resale and repair, during that time a lens that came across my desk time and time again, yet never managed to catch my attention was the oft forgotten Leica/Minolta Rokkor 40mm f/2

The particular lens is an interesting amalgamation of German and Japanese construction, German optics, shipped in brass tubes to Japan to be assembled under the Minolta monicker. The one hazard, was the lack of 40mm frame lines on the M6, I had the 50mm, I had the 35mm, but for my new weapon of choice I needed to figure out a way to compose…

So, blind to the edges of my frame, I began shooting, both from my eye as per usual, but with my new-found freedom that ignorance of the frame gave me, I began for the first time, shooting almost exclusively from the hip. I began to learn the frame, roll after roll I began to learn the space that the lens occupied, near perfect both horizontally and vertically, the lens sang just as sweetly for street, or portraits.

I’ve been shooting almost exclusively with the 40mm for the past six months, both on the M6, and now an M9. I always approach equipment choice by wondering what story it might let me tell, and so far, I’m enjoying the one the 40mm is writing.

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Photographer and Cinematographer

New York / Los Angeles / Firenze

- Outlierimagery.com -

 

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Jul 182014
 

Film shoot: Sirens

By Brett Price

Hey Steve,

I’d like to share a few images from a recent shoot I was able to do recently. In the past when I’ve submitted stuff for your site I’ve done extensive write ups on gear or technique but I thought I would just keep this one kinda simple. The theme for this shoot was based off of one of my favorite scenes in one of my favorite movies, “O’Brother Where Art Thou?” The scene with the Sirens is beautiful and I tried to recreate that a little with these photos.

My setup this time was simple. I brought my Leica MP and a Fuji GX645af and shot mainly film for these that you are about to see. It’s a mix of Efke KB50 film (sadly now discontinued) and Kodak Portra 400. I developed the B&W in Rodinal and shot with a Y2 filter. All were scanned with a Noritsu scanner.

I post a lot of my work to:

Tumblr: Brettprice.tumblr.com
Instagram: @brettprice
Flickr: www.flickr.com/photos/brettprice

Hope you like them! Cheers!

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Jul 172014
 

Photographing 100 Strangers with Fuji

By Justin Holder

Steve,

Earlier in the year, I started what seemed like a mountain of a project, planning to meet 100 strangers over the next years, interviewing them and compiling them into a book for my two sons. The project is called “Advice For My Boys” and has ended up being not overwhelming, but an incredible journey.

Just last Friday, a couple of days before Father’s Day, I had already hit my 100th stranger since mid February.

I have a Canon 5DMKII and a host of L-lenses, but I knew that would add an intimidation factor, beyond what there would already be. So, I shot the entire project with my Fuji X100s, Fuji X-E1 and then the Fuji X-T1. As many of the other Fuji fans know, these cameras offer such incredible results, yet seem so cosmetically casual and unassuming. I could not be more pleased with the results.

Now, over 100 deep in the project, I have decided to keep going. I always ask my strangers initially three questions: happiest time of your life, toughest time of your life, one piece of advice for my boys. Amazingly, not ONE person has said no to the project.

Even more cool has been the ripple effect of it. One of my favorites, Lois, who worked at McDonald’s said, as we were sitting down to talk, “you know, this is the first time in my life I’ve ever been noticed.” I asked what she meant. “Oh, I’m just one of those people who goes through life and you don’t really notice if I’m there or not.” The next day, lots of readers of the project showed up at her McDonald’s with cards, notes, little gifts, etc. Even the president of the bank went over to see her. She emailed me that evening and said it was the best day of her life. There have been so many similar stories in this project…and I feel certain there’s not one stranger I’ve met by chance.

We’re all fans of Steve’s site because we love cameras and photography, but even more the opportunities and experiences they often allow. If you’ve been considering doing something out of the box, I’d urge you to make the leap. Yes, it’s intimidating, but the rewards greatly outweigh the risk. Cheers to all of you!

Website for the project: www.AdviceForMyBoys.com

Nashville NBC affiliate news story

Thanks, Steve!

Justin

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Jul 162014
 

Epson Perfection V600 scanner

by Brandon Huff

(From Steve: Hey guys! Today I bring you an article by my Son, Brandon who has just started to get into film photography, and he is hooked for sure. He has been saving for a Leica M6 but he asked if he could post this short review of his new film scanner here and of course I said yes! He also started his own little website just for fun where he will talk about film gear, scanning, shooting and all kinds of stuff from time to time, so check it out at http://www.brandonhuffphotography.com. He works for me a few hours per week and liked it so much he wanted to start up his own little space on the web. As I always say, it’s all about the passion..and he has it! Like Father like Son!)

For over a month now I have been wondering…should I get a scanner? Should I spend all of that money and potentially not enjoy this time intensive process at all? Well, I will just tell you the old way I was doing it first. After my first roll of film I realized it would be REALLY expensive to get it all scanned at the pro lab at 10-15 dollars a roll. I decided to look for cheap ways to scan film while keeping good quality for what I was doing. I took my Nikon V1 with 18mm lens and propped it on a tripod. I then took a glass door from a cabinet and a bright LED light under with photo paper on top. I would take a picture of each frame and crop it out, this was working great for black and white and medium format but once I got around to color film and especially 35mm format it all went down hill. The contrast was horrible, the colors I tried to fix myself were horrible and it was all just not going to work. So I finally splurged and paid the $220 on Amazon for the Epson V600 scanner.

I must say WOW! This is without a doubt the best 200 dollars I have spent for film photography since I’ve started.  The V700 does medium format and 35mm plus regular scanning as well. It’s resolution for film scans can be set all the way to 12000 DPI even though I can not use that resolution as the scans come out in TIF format at a whopping 1Gig each!! Yes 1GIG! Insane!

Here is the Epson closed

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Here is the Epson open with transparency unit exposed

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Excuse my product shots I have no good way at the moment to do things like this.  The resolution of this scanner is fantastic, it is considered a semi pro model under the Epson V700 which is the professional line but the main reason for not purchasing this is the price jumps and I mean JUMPS this model is only 200-220 dollars while the V700 sky rockets to around 600-700 depending on who you buy it from. Enough talk, lets get to the sample images. I will be showing the old way in which I was doing it (Using my Nikon V1) and the new way as well (with the V600)…

Contax T2 old way with the Nikon V1

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Contax T2 same photo Epson V600 4800 DPI

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Contax T2 old way with the V1

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Contax T2 Epson V600 4800 DPI

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I will now show you some holga shots that are color as well…when I did these color photos they were done in full auto mode with NO retouching WHAT SO EVER non at all!

Holga old way with V1

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Holga old way with V1

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The rest of these photos will be from the Mamiya 645. I do not have any color film with it yet but the sharpness if fantastic. Before I do that I would like to say one thing that is wrong with this scanner. The two photos above with the shirts… if you notice the first one is a bigger frame, you can see more shirt to the right and while the one scanned with Epson is WAY better looking it cut off some of the image because it did not see the shirt on the right side. The V600 cropped the frame a bit.

Mamiya 645 Old way with the V1 as the “Scanner”

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Same images but with the Epson v600 9600 DPI

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As you can see these photos are FANTASTIC! WAY better quality out of this scanner so all in all I will be keeping it. I love it!  it’s amazing and I think for all you film shooters that do not have the money to blow $600 on the V700, this is one of the best alternatives I know of. Here are some new photos for you all to enjoy from this great scanner!

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Also if you want too you are all welcome to check out my new photography blog/review site. I mostly do film cameras and film types, I am in the process of getting more equipment to review so I will try to post as much as possible!

http://brandonhuffphotography.com

Jul 152014
 

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The Sony A7s: A New Camera for Leica M lenses

By Ashwin Rao – HIs flickr is HERE, his Facebook is HERE

Hello, gang. It’s Ashwin, back from a bit of a hiatus to discuss the camera du jour, Sony’s impressive A7s. The A7s has gotten quite a bit of press, in particular for it’s remarkable ISO sensitivity/performance, for it’s 4K video, and for it’s buck-the-convention 12-megapixel sensor. It’s been hotly debate, in light of the already-exceptional performance of its two siblings, the A7 and A7R, which offer different full frame sensors. I have extensively shot both bodies, and while I enjoyed the experience, I was left a bit in the lurch for entirely selfish reasons. Unfortunately, extensive shooting bore out that the A7r is really not a great option for Leica M lenses due to the critical nature of the sensor and how it plays (poorly) with M lenses, causing excessive vignetting, color casts, and detail smearing at the edges. The Sony A7 is better with regards to its capacity with M lenses (most lenses 35 mm and above do “okay” to “great” on the A7), but after shooting these 2 cameras, I came to the conclusion that perhaps Leica M lenses were best suited to be used on Leica M camera bodies, from a purely imaging standpoint. One can argue endlessly about the rangefinder (beyond the frame lines) vs SLR/mirrorless (tunnel vision) way of seeing, and there’s really no right answer there, as it’s more a matter of preference. But until recently, while the A7R and A7 were capable of using M lenses, they didn’t really make M lenses shine. And thus, I moved on, continuing to genuinely enjoy my Leica M bodies for my M lenses.

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A few months ago, whispers of a new camera began, and what resulted was the Sony A7s….a low megapixel (in today’s market), high ISO monster reportedly designed for videographers ready to make use of its full frame sensor and 4K recording potential. What people did not speak so much about was whether it would handle Leica M lenses better than its siblings. Maybe it was a lack of interest, and maybe the conversation moved on, but for me, my curiosity was piqued. I wondered whether the sensor’s lower megapixel (less critical) sensor, coupled with its gapless sensor design, would allow it to handle rangefinder lenses, which notoriously bend light into difficult angles at the periphery of digital sensors. My curiosity was also piqued by the high ISO capabilities of such a camera. If the A7s could handle high ISO’s as well as was being made out, suddenly, one could use compact, relatively “slow” M lenses such as the f/2 Summicrons, f/2.5 Summarits, f/2.8 Elmarits, and f/4 Elmars in low light conditions at high shutter speeds. Further, faster M lenses, such as the f/1.4 Summiluxes and f/0.95-1 Noctilux options might allow the photographer to see into the dim light of night like never before, and the lenses remain relatively compact to top it off. Leica M and other rangefinder lenses are generally much smaller than their mirrorless (at least FF mirrorless) and SLR counterparts, and balance quite well on the A7(s/r) bodies quite well, so one could make incredibly versatile images at very low light, using a very small kit…..in theory.

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To top it off, the Sony A7s was soon announced to have a “silent shutter” option, allowing the photographer to shoot with a full electronic shutter that would not announce itself whenever a photo was being taken. To me, this was one of the huge potential benefits to the Sony…Silence means that a photographer can work discretely, and the A7s, for the first time, offered this option to the photographer choosing a mirrorless body for work…For a Leica photographer-nutball such as myself, the value of discretion is part of the “rangefinder way”, and now, here was a mirrorless body that did it even better than the Leica M3 through M7, with their lovely/subtle shutter sounds….Here was a camera that could offer silence when shooting (albeit with the risk of a rolling shutter effect for fast-moving subjects)….wow, the A7s was now really grabbing my attention.

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But, All of this was fine and dandy, but only, and only if M lenses would play well on the Sony….

So the early reports came in, including Steve’s own detailed, fantastic, glowing review of the camera, using mainly FE lenses…Steve was blown away by the camera’s AF performance, high ISO performance, and it’s overall handling, for a full frame camera. But the images that intrigued me most from his review, as well as those of others, was the performance of the tiny Cosina Voigtlander 15 mm Heliar lens. Many of you know that while this lens one of the widest fields of view for a rangefinder lens, it plays quite poorly with the M9 and M240, and doesn’t do well on cropped sensors in many instances, due to excessive color shifts (magenta) and vignetting, due to the physics of the optics at play and how they project light through the lens and onto most sensors…Yet, the Sony A7s was handling the CV 15 mm lens, no sweat.

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So off I went to my camera store, armed with a host of Leica M lenses, ranging from a 21 mm f/3.4 Super Elmar through a 90 mm f/2 APO-Summicron. After a few preliminary shots, I took note of dramatically less vignetting and what appeared to be more uniform color through the image field (i.e. no color casts). Hmmmm, great start, I thought….

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But what about smearing? One issue with using lenses 35 mm or wider at full aperture, is that many lenses start to smear details at the periphery of the imaging field. It’s a dirty little secret that Leica’s own wide angle lenses tend to do this on digital bodies, and this was one of the reasons that it took so long for Leica to introduce a digital rangefinder (and ultimately, the Leica M8 with it’s 1.3x crop sensor, designed to avoid the physics causing some of the issues mentioned). At one point, Leica’s CEO at the time mentioned that it might never be possible to produce a digital M body, but we know how that prediction turned out….

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Smearing has been a major issue for me with full frame bodies such as the Sony A7r and A7, and when added to intermittent color casts and high levels of vignetting, I had previously found that files just took too much work to get things right, and I gave up. Now, sitting home at my computer with a variety of files from a variety of lenses ranging from wide to telephoto, I was not seeing any objectionable colorcasts and much improved vignetting. How about smearing, then? Well, the jury is still out, but for the most part I have been entirely pleased. Of the wide lenses in my possession, I found that the 21 mm f/3.4 Super Elmar did exhibit slight detail loss at the far edges of the image, but this was not objectionable, just more than what I had seen on the M9 and M240 bodies. The lens that continues to “misbehave” on the A7s was the Leica 28 mm f/2 Summicron ASPH. This lens gives even Leica M bodies some trouble, and in the case of the Sony A7s, it has continued to produce moderate smearing at the edges. For real world street photography, in which edge sharpness may not be important, the smearing rarely matters, but if one were shooting landscapes, he or she would notice this, so it’s I lens I have considered avoiding for those moments when edge sharpness matters (For most other moments, the 28 ‘cron works great). Beyond that, I have had no issues with edge smearing. Everything works great. My Wide Angle Tri Elmar (WATE) works perfectly at 16 mm on the A7s, though this lens’ design plays reasonably well with even the A7r. My 35 mm f/1.4 Summilux FLE, which didn’t work well on the A7 due to odd vignetting, works perfectly well on the Sony A7s.

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To add to the story, I have found that the Sony A7s does a great job with colors. It presents a palette similar to that of the Sony A7 and A7r, so if you are used to the files that those cameras make, the A7s will be similar. One nice added perk is that at higher ISO, while dynamic range does start to drop off a bit (particularly past ISO 4000, though files are totally useable, in my opinion, through ISO 12,800), the color reproduction at those high ISO’s remains solid. There’s only so much you can push today’s sensor tech, in terms of dynamic range and high ISO noise and color performance, but the Sony A7s is today’s state of the art.

Ultimately, I have been thoroughly pleased with my time using Leica M lenses as my sole lens set up for the Sony A7s. Everything works well. High ISO – check! Silent shutter – check! Minimal muss and fuss with edge image quality – BIG check! Colors and skin tones. Check that as well. Handling of camera with M lenses…big HUGE check! It all seems to work well.

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In summary, I have found the Sony A7s to be a great option on which to use Leica M lenses. If you have an investment in rangefinder lenses, or intend to do so, the Sony A7s is the current camera that you’d want to have on a budget. Sure the Leica M9 is fantastic, but it has high ISO limitations. The Leica M240 is great, but tends to start banding around ISO 3200. Those are fantastic options and allow one to see in the “rangefinder way”. But separating yourself from that, the Sony A7s is an incredible imaging machine. Sure, it has a lower megapixel count, but 12 MP files are plenty for the vast majority of us. The camera’s incredible ISO performance allows for the use of slower lenses, and thus more compact lenses, in low light shooting circumstances. Suddenly, your Elmars and Summicrons become relevant options for night photography, and lenses such as the Noctilux allow you to pear into the night better than your own eyes….it’s rather incredible. Creative possibilities open up, and I see new photographic horizons ahead! The Camera’s EVF is sufficient to reliably focus lenses, particularly if one uses the “Focus Magnify” option to achieve critical focus. The silent shutter allows for very discrete shooting, and for most street photography moments, it’s a perfect option (I have yet to see the Rolling shutter effect for my style of shooting) that’s silent and discrete. And year, silent shutter means no shutter shake to blur your images at that pixel level. Speaking of pixels, the camera’s lower pixel count allows for easier achievement of sharp images at slower shutter speeds, if desired, as 12 MP is much easier to hand hold than 36 megapixels in nearly any circumstance…something to consider if pixel peeping for sharp images is your thing.

The list goes on and on, but you can see that I am quite convinced that the Sony A7s is a viable option for those of you who want to use small, high performance rangefinder lenses on a mirrorless body. It’s the way to go. By the way, every image you see here was shot with the A7s and a M mount Leica lens. Now go out, test one out, and see if it satisfies you. The Sony A7s has certainly satisfied me.

All the best to you, my friends!
Ashwin (July, 2014)

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Jul 142014
 

Shooting Skateboarders with Micro 4/3

By Tony Zhang

Hello everybody, first of all, I would like to thank Steve and Brandon for providing me with this opportunity to share my thoughts. I am a daily visitor of this site and I really appreciate this opportunity. This is the first time I have written anything remotely formal on the internet so please bear with me and my more than likely boring rant about skateboarding, photography, filmmaking and my gear.

My name is Tony, I am seventeen years old and I live in New Zealand. I discovered photography about two years ago. I am a skateboarder, and about two years ago I wanted to purchase a camera to make videos of my friends and myself skating around and doing tricks. After many hours of internet research later, I decided to shell out my savings on a Canon t4i, kit lens, 50mm f1.8 and a 6.5mm fisheye. My primary interest was video but I inevitably found my way to the world of photography. I eventually sold my kit lens and 50mm and sprung for a Canon 17-55mm f2.8 IS. I was convinced that my setup was good enough(not only in terms of image quality, but also usability, size and weight) for both my video and photo purposes, until I discovered mirrorless and micro 4/3rds.

I feel that skateboarding photography is very different to other forms of photography. For good results, much knowledge about the activity is essential. Knowing exactly what time to press the shutter button, by the millisecond, when shooting a particular trick is essential, a photo early or late by milliseconds is often the difference between a keeper or a throwaway.

Unlike other sports photographers, who are often seen with a behemoth of a DSLR and 100000mm telephoto lens, firing non stop in continuous autofocus mode from the sideline(no offense intended), a skateboard photographer shoots and skates with his friends, he is often down on the ground or up on the roof, in the blazing sun, struggling almost as much as the skateboarder trying to land the trick. The photographer is almost part of the action.

You may notice that for many of my ‘trick’ photos, I use a fisheye lens. The fisheye is a staple in the world of skate photography and it is used to get the camera up close to the spot and skater, to distort the environment, often making the ledge, rail, stair set or other obstacle involved in the trick look much bigger, and hence the stunt more impressive.

Camera rig

Many amateur and professional skate photographers frequently use external strobes and off camera flashes to help freeze the fast-moving action and to light the subject up better. Many amazing skate photos are taken with many external flashes. However, I have never used off camera lighting. Mainly because carrying around so much equipment while cruising around town on a skateboard is a pain, but also because it is a laborious process which somewhat takes the fun out of shooting. (I will also admit that I am a bit intimidated by off camera lighting because it all seems so confusing)

I love skate photography because it captures the life, adventures, talents and efforts of myself and my friends. It is a difficult and special form of photography. I also enjoy the pressures of skate photography, waiting for the skater for hours to land the trick, hoping that the lighting does not change rapidly, getting up high or down low into uncomfortable positions to get the shot, the risk of injury or damaged equipment (my fisheye lens has been hit multiple times by skateboards as a result of being too close), and the chance of getting told of by security, these factors are all parts of skate photography. It is never a controlled environment and I truly enjoy these challenges.

Air(g6)

Backside heelflip(g6)

For the first few months, I was very satisfied with my camera setup. However, after learning more, filming and shooting more, I developed the feeling that something was missing, the ergonomics of a DSLR was not ideal for shooting video, mainly due to the lack of an electronic viewfinder, I had to use a large and cumbersome stick on viewfinder when shooting video. A video mode with 60 frames per second is essential for skating due to the need for slow motion at times, and Canon DSLRs only have 60fps in a softened 720p mode, filled with moire and aliasing artifacts. Despite being an excellent all round lens, the size, weight and front/back focusing issues of the 17-55mm f2.8, was irritating. I longed for a smaller camera with an electronic viewfinder and clean 1080p video in 60 frames per second.

There are few mirrorless cameras with aspc sized sensors that provided clean 1080p 60fps video, good video and stills ergonomics, a good, wide enough fisheye lens option, and an external 3.5mm mic input. Enter micro 4/3rds, after months and months of internet lurking. I decided that the Panasonic g6 would be the best all round camera for my purposes at a good price point. At the start of 2014, I sold my entire camera setup but kept my external microphone and homemade handle which I use for filming ‘lines’ (a video clip in which I am on my skateboard, following a skater with my camera and fisheye lens low to the ground and close to the skater, filming him do several tricks in a sequence.) I purchased the Panasonic g6, the Bower 7.5mm f3.5 fisheye, the Panasonic Leica 25mm f1.4 and the Panasonic 14-140mm f3.5-5.6 zoom lens. For me, this was the best all round compromise for stills and video that I could afford. I chose the g6 over the gx7 due to the external mic jack and overall ergonomics, and the gh3 due to the price difference. I find the difference in stills quality between the g6 sensor and my past Canon DSLR sensor to be negligible, and in fact I find contrast detect autofocus to be more reliable. However the difference in video quality and ergonomics between the two setups is worlds apart. I prefer the electronic viewfinder for both stills and video. The touch pad AF function on the g6 is perfect for my style of shooting, this, along with the accurate contrast based autofocus and the 25mm f1.4 makes shooting much more enjoyable than it was on my Canon. I do not require lightning fast tracking autofocus because when shooting tricks, I prefocus on a spot and lock the focus. Nothing else I shoot moves at a fast pace, and contrast detect autofocus works perfectly for my needs. The 7fps burst rate is very useful and I have the camera set to burst mode almost all the time.

Chill(g6)

Frontside noseblunt(g6)

Kickflip(g6)

I love the Panasonic 25mm f1.4, I try to use it as much as I can. The depth of field is shallow enough for me and I love the rendering and micro contrast of the lens. I often shoot wide open, and the 25mm is very sharp wide open. I also purchased a polaroid variable ND filter for about $30 USD so I can shoot video wide open during the day, the quality of the filter is excellent for video, there is a slight compromise for stills but I am not at all bothered by the incremental reduction in sharpness. The fisheye lens is compact, sharp and solid, however I do wish that it had a slightly wider field of view and increased barrel distortion. It is noticeably less wide than its aps-c DSLR counterpart which I had. I purchased the 14-140mm zoom planning to just use it for video, but its stills capability is also very decent, I find depth of field at the long end to be very adequate for portraits given that there is enough working distance. The OIS works amazingly, I can sometimes shoot fairly steady handheld video at the very telephoto end. I use it mostly for zooming video shots (unlike in usual filmmaking, many traditional skateboarding clips have some sort of zooming action in them, so video nerds please don’t rip me to shreds), however, I still wish I had a typical camcorder style zoom rocker.

Mum(g6)

Nollie crooked grind(g6)

With my birthday money, Chinese New Years red bag money(haha many of you will know what I am talking about), and addition chip ins from my parents for doing surprisingly well in my SATs first try, I purchased a Ricoh GR. I originally had my eye on the Fuji x100s, but it was not pocketable and cost too much. I wanted the GR because of it’s tiny size, ergonomics and it looked fun to use. It is a camera that fits in my pocket, I take it with me almost everywhere in the weekends, often without the intent of taking photos at all. The GR is the camera that allows me to get candid photos of my friends and out skateboarding adventures without me having to take out my big(ger) camera(and often removing it from my homemade handle.) I was originally worried I may not have been able to adjust to a 28mm prime lens and expected myself to frequently use the 35mm crop mode(which by the way is excellent), but I quickly found it to be the perfect ‘storytelling’ lens, wide enough to include many elements in the photo putting the shot into precise context. I also find the 28mm equivalent perspective very dynamic and lively, unlike many telephoto focal lengths which appear distant, compressed and flat(but this is good for many things). I usually shoot in TAV mode with the aperture wide open or at f5.6, and use it typically up to ISO 3200. Much to my surprise, I found the in camera raw developer to be very useful and fun to use, I especially like the positive film effect. The low light performance of the GR is great, the handling and interface are amazing, the sharpness is incredible throughout the aperture range., it is built well and most of all, it is fun to use. The 28mm and 50mm prime combo I have is great for most of my purposes when it comes to stills.

Ollie(trick) - Wynyard quarter(g6)

Portrait(g6)

However, nothing is perfect. Despite all the benefits of my new camera setup, I can still find some noticeable flaws, no deal breakers though. Firstly, the build quality of the Panasonic g6 is questionable. Being part of the entry-level range, the buttons feel slightly flimsy and often have a slight delay, this is especially noticeable when I want to scroll through photos, or quickly change the aperture or shutter speed. It is not a big deal however, just takes some getting used to. I wish there was a flatter picture style for video so I could squeeze out some more dynamic range when filming. When in manual mode, there is no constant exposure preview in the viewfinder and screen, the viewfinder always displays a correctly exposed image, this is frustrating as one of the main benefits of an electronic viewfinder is to have a constant preview of the exact exposure. The eyecup of the viewfinder is also very hard and uncomfortable, and I am unable to tightly press it against my eye for stability, much better than nothing though. The 25mm f1.4 is almost perfect, but I do wish it were a bit smaller and had a reversible lens hood, with the hood attached it is quite big. Chromatic aberration is also a concern, however this is easily removed in Lightroom. When filming with the 14-140mm, I sometimes notice slight shifts out of focus for milliseconds before coming back to focus while zooming, even when in manual mode, meaning that it is not a true parfocal lens. This is usually not an issue, but frustrating at times.

Push(g6)

Squat(g6)

The Ricoh GR, for what it is, is close to perfect, however there is a risk of sensor dust attraction. After about a month, I noticed a slight speck of dust on the sensor, it is noticeable when I shoot a picture of a white wall, however it cannot be seen in most situations. It is annoying but usually not an issue. I also wish that there was a manual video mode, I know it is a camera completely designed for stills but some sort of control in video would be nice. A slightly faster maximum aperture would have been nice, I really like the surreal look of wide-angle photos with shallow depth of field, however I understand that the size of the GR would have been compromised. A pop up EVF would be amazing, I have gotten used to shooting with the screen and it is fine, even in sunny conditions, but after seeing the Sony Rx100 iii, I really wish my GR also had one. Perhaps I am asking for a bit too much here.

Backside smith grind(gr)

Lastly, for those who care, here is my homemade camera rig/handle I have mentioned a few times. It allows me to shoot much steadier video due to the extra weight, as well as to film ‘lines’ due to the top handle. Prior to this, I had the Opteka X-grip, but it felt flimsy, was too big and wasn’t really efficient. I drew a few sketches of what I wanted on paper, then purchased various parts off eBay to put it together. The camera slides in and is connected by the hotshoe screw at the top as well as the quick release plate at the bottom. The height is adjustable and the frame can extend enough to fit some entry level full frame cameras. There is no frame on the left side so my LCD screen can flip out, and I mounted my external microphone(sony ms908c) upside down on the side so the rig fits in my bag without me having to take it apart. The quick release plate is a recent addition. With the plate added, it takes about 3 seconds to take the camera on or off the rig, without it, that time lengthens to about twenty seconds. If anyone is interested in the pieces. required, I am more than happy to send you a list of parts and how to put it together. By the way, the photo of the rig itself was taken on my Ricoh GR, wide open at ISO 1600 in raw and then processed in camera with the positive film effect.

Here is my Flickr- https://www.flickr.com/photos/87200229@N04/

Instagram- http://instagram.com/t_zhangg

Youtube channel- https://www.youtube.com/user/TonyZhangsChannel

I would really appreciate it if you could view my photos follow me on instagram and flickr, I know I don’t have much content, in fact, hardly any, most of my work is kept to myself. But rest assured that I have been steadily uploading more and will continue to put out more content.

Most of you will probably have little to no interest in skateboarding, but it would mean a lot to me if you could click on my channel and watch a few videos, it would really help me out, even better if you subscribe!

Once again, many thanks to Steve and Brandon for this opportunity, as well as to all of you who have taken time out of your day to read my article. I apologise for my rambling and heavy digression into video. I really enjoyed writing up this user report, it has allowed me to thoroughly rant about my thoughts. I hope that this report has been informative or useful to some of you who may be considering the Panasonic g6 or Ricoh GR, despite all the flaws I pointed out, they are excellent cameras(Trust me, I could tear any camera to pieces). Being able to carry around so much camera gear but still have the overall weight and size of it all being fairly minimal is amazing, especially when I skate around town with everything in my backpack. However, in the end, it is not about the equipment you have, but how you use it and your creative vision. No matter how good your gear is, there is always room for its improvement. People have create amazing images with mediocre gear, so try not to be like me and go crazy about gear, instead focus on the actual process of taking photos and your final product. But let’s be honest, talking about gear is pretty fun :)

Cheers,
Tony

Filming(gr)

Frontside bluntslide(gr)

Lurk(gr)

Sunset(gr)

Jul 132014
 

The best for me: Leica Monochrom!

by Francois Roosens

I think it’s the moment to send you some pictures from my Leica MM (Monochrom). Leica came into my life about 2 years ago, I sold my D4, D800e and all reflex kit to buy it.

The Leica MM is for me the best camera I have bought. I now own the MM(The best), M240,  A7r,  A7s (fabulous), and also the Lumix GM1 (it’s a perfect micro camera). I like your job.. Thanks for everything.

I am sending you some picture of « GILLES » from Belgium, it was in March for the « Carnaval » It was an important feast in my country. Early in the morning Gilles come pick  up other gilles and drink and eat at each house. in front of every house, they dance around… and lunch some oranges to give at children or at people for have a lucky year. I hope you like this.  The Leica 24 Summilux and 50 Noctilux 0.95 was used for that and I was up at 4AM.

Thank you!

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Jul 122014
 

The Overlooked 50

By Jorge Torralba

The Overlooked 50.

Over the past year, there has been resurgence in the market for 50mm range lenses from a wide variety of manufacturers. Needless to say, they all claim their 50, 55 or 58 are the best in their class. If it’s not the Nikon 58, then it must be the Sigma ART, Leica APO, Zeiss Otus or Lens X from Sylvester McMonkey McBean. Let’s face it, we have seen them, praised them and condemned them all without even owning them. It’s too big. It’s too expensive. It produces beautiful bokeh. It’s sharp. It’s dull. It is full of CA. It’s manual focus. It focuses too slow. It’s not weather sealed. And so on … But, we talk about them. Either in a positive or negative way, they get our attention and become the topic of discussion for the day, week or however long that thread on a forum lives for.

I am here to tell you of a not so talked about or popular lens that gets overlooked way too often. Rarely gets mentioned as a super lens or a must have. I am talking about the Sony Zeiss ZA 50mm 1.4 Planar. A lens made for the A mount Sony cameras like the A900, A77, A99 etc … When paired with an A99, A6000 or A7 it produces amazing images with such contrast and detail that it’s hard to imagine even considering a third-party lens for your Alpha camera. Granted, it is a little expensive but you can find deals now and then and when compared to some other high-priced 50’s, it starts to look even more attractive and worth considering. It is less expensive than the new Nikon 58, Zeiss Otus or Leica APO. However, It’s is worth every penny and when you start using it you will know why. Simply put, this lens is result oriented and it delivers without question.

For years I have been a fan boy of the Zeiss family of lenses I have owned the Otus, and several other great Zeiss lenses for my Nikon cameras which over the years have developed a reputation which has made them coveted by many. However, not long ago I decided it was time to move on and catch up with technology. I wanted autofocus Zeiss glass and a good full frame camera to use them on. Due to licensing restrictions, I was not going to find what I was looking for in either Canon or Nikon mount. The only modern solution which met my requirements was to switch to the Sony Alpha system and use the ZA lenses with a native Sony A mount and autofocus. Boy. You have heard the saying, never say never. But, let me tell you. After the switch and seeing results that clearly show why the Zeiss glass is so coveted, I find it hard to imagine ever going go back. The 50 ZA is weather sealed gem which focuses extremely fast, renders beautiful bokeh and is built like a tank. The 50 ZA sits nicely in your hand when attached to a DSLR or a small mirror less camera with the Sony LA-EA4 adapter. It is comfortable to hold and easy to focus when switching to manual focus. It is a true example of getting what you paid for. It has become my most used lens and it has yet to let me down. It is wonderful for street photography, snap shots landscapes and just about anything else you can think of. It even makes a great paper weight when it sits on my desk.

You have to ask yourself why this lens is overlooked by so many. Is it because it is for a Sony? Is it big or small? Is it too expensive? There are many thing s to bring up about this lens in conversation but you rarely read or hear about it. Don’t fool yourself into thinking that only Nikon and Canon are at the top. Sony is on a steam roller squashing the competition with innovation and advances in sensor technology that is defining the photography of tomorrow. Their alliance with Zeiss was a brilliant strategy that was successful in converting me from Nikon to Sony and the 50 ZA is just one of the reasons I have not even thought of turning back.

You can see much more from the 50 and other great Zeiss or Sony lenses on www.ZeissImages.com or www.SonyAlphaImages.com . But, to give you a sampling of its capabilities, here are just a few examples from this wonderful lens used on my A99 and A6000

The Annex Bar in downtown Portland. Hand held A99 and 50 ZA at f4 and ISO 800

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For a much larger image to view follow this link.

http://zeissimages.com/gallery/4/U4I1395985868.SEQ.0.jpg

I met this gent outside of the rescue center near Burnside in Portland. He was very friendly, polite and did not mind me snapping a few pictures. For the most part, It looked like an average photo to me. However, when I started processing in Light Room and magnifying certain sections for a bit of pixel peeping is when I started seeing the detail and was taken by surprise by what I saw. Here is a full frame capture again at f4.

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What you really need to look at now is a tighter crop of the face and the detail. The amount of detail in the lips and eyes is amazing. Follow this link for yourself and wee what this lens can do.

http://www.sonyalphaimages.com/gallery/4/U4I1402098920.SEQ.0.jpg

This was just outside of Escape from New York Pizza in the NW District of Portland. A little roughed up from a street fight the night before, a gracious pose was in order. This was shot at f3.5 and ISO 400 with the A99.

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Follow link for a larger version

http://www.sonyalphaimages.com/gallery/4/U4I1395280407.SEQ.1.jpg

My son staring at a computer monitor in low lighting conditions. ISO 200 at f2 1/15th of a second.

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Larger version here

http://www.sonyalphaimages.com/gallery/4/U4I1394212795.SEQ.0.jpg

Here is one of those typical boring shots that you do just because you had nothing better to do. But this shows a good example of the out of focus areas from this lens. Shot at f2 with the A99.

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And finally a snap shot from the A6000 and the 50 at f2.0

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Larger version here

http://www.zeissimages.com/gallery/4/U4I1401936661.SEQ.2.jpg

 

Jul 112014
 

A Leica M3 User Report in Pictures

By Logan Norton – His website is HERE

LEICAM3

 

Hello Steve and readers, I would like to present a review of my favorite documentary camera, the venerable Leica M3. As a long time Leica lover I have tried or owned every M camera iteration and I continually find myself drawn back to the original for its impeccable style, exquisite viewfinder and solid, mechanical feel. The M3 does not require batteries, as it has no light meter. It features a .91x magnification viewfinder that is exceptionally well matched to 50mm lenses.

The M3 started a long history of Leica use for reportage and street photography. Greats such as Imogen Cunningham, Henri Cartier-Bresson, Gary Winogrand, Helmut Newton and Diane Arbus all chose Leica cameras for their work. A Leica camera provides near silent operation in a small, easily ignored package; something that allows street photographers and reporters to blend into their surroundings and operate with minimal disruption of the events surrounding them. It was for these characteristics that I chose to bring my trusty M3 along when I went out to document a Peace March in Salinas, CA earlier this year.

In response to escalating violence involving the Salinas Police Department, members of the Hispanic community organized a Peace March. The march highlighted three shooting deaths of young Hispanic men at the hands of the Salinas police and called for open dialect between the city and the Hispanic community leaders.

In order to cover this event I paired my M3 with two of Voigtlander’s best lenses; the 50mm Nokton f/1.5 and the 28mm Ultron f/2. One of the downsides to the M3 is its lack of 28mm (or 35mm for that matter) frame lines. For my work I do not use an external finder for this lens, instead choosing to shoot with both eyes open and guestimate the framing. I have found this to be suitable for my purposes but would definitely not recommend it for everything. The images were all captured using either Kodak 400tx (my favorite film for these events) or Fuji Acros 100. The film was developed at home using Kodak Xtol developer and scanned with a Kodak Pakon F-135 Plus.

 

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Jul 112014
 

The Ancient Aegean Coast of Turkey, Film Friday

By Ibraar Hussain

Dear Steve and Brandon and all Stevehuffphoto.com lovers!

I thought I’d write a short article about Asia Minor, The Ancient Near East or rather Turkey and The Aegean Coast. I guess this is most likely a Film Friday post, but I am trying to make my posts more about Photography and less about Gear and whether Film or Digital.  I do love Photography and as you may have noticed, travel photography especially so.

Me and the Missus went to Kusadasi for a week and had a great time, and I went with just one camera, my Rolleiflex 3.5F and 6 rolls of Film, and my trusty iPhone 5. I spent most of the time relaxing, experiencing and soaking up the vibe, but I did get some time to take a few pictures here and there.

Me and my Rolleiflex, at Ephesus, picture courtesy of The Missus. iPhone 5.

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Kusadasi is a nice resort, a modern town with an ancient heart.

Amid the tourists, cruise ships, sun, sandy beaches and bazaars you’ll find some history and the resort is especially important as it is a base for exploring the surrounding country where you can find some of the most well preserved and glorious Ancient Greek, Roman/Byzantine, Seljuk and Ottoman sites in the World.

Kalaeci Mosque, Kusadasi. Rolleiflex 3.5F Fuji Velvia 100

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The beaches along Town are pretty crowded, nice and lively enough but too much for me, so we went over to Dilek Milli Park to explore the beaches down there.

Busy “Ladies Beach”, Kusadasi. iPhone 5.

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Travelling around is easy, just hope on the very frequent Dolmus or Mini Bus for less than a Dollar a journey and go where your heart pleases, the people are very friendly, hospitable and relaxed. For secluded beaches amongst pines, forests canyons and hills nestled along the Aegean and within sight of The Greek islands is Dilek Milli Park. There are three beaches in Dilek Milli Park and the first is a beautiful sandy cove – but pretty busy as this is where most of the families go.  The other two beaches are quiet and tranquil and here you can relax and enjoy the sea, sun bath, snorkel and just relax – but watch out for the Wild Boar!! And there are absolutely no shops or anywhere to buy anything within the park, so be prepared!

Beaches at Dilek Milli Park, with the Greek islands visible. Aegean Sea, Turkey. Rolleiflex 3.5F Fuji Velvia 100.

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The ancient sites worth visiting include Ephesus, The Meryama – the House of The Virgin Mary where St John brought her after the Crucifixion of Christ, Ayasoluk Hill – in Seljuk; the site of St John’s Basilica and the Byzantine Fortress (along with Isa Bey’s Mosque and many other Seljuk and Ottoman sites), The Ionian Cities of Priene and Militas, Aphrodisias and Pamukkale.

We didn’t have time to explore everywhere so we will go to Priene, Militas, Aphrodisias and Pukkalake next time and I’m looking forward to it!

We did visit the Meryama and Ephesus, and impressive as these are, there were a LOT of tourists and the weather was hot! Beautiful places which i longed to photograph but alas the scourge of tourism meant that I could hardly take a snap without loads of people violating my vista so I include only a handful of shots of Ephesus here and none of the Meryama which I was reluctant to photograph as it’s a pilgrimage and holy site for many Christians and I found snapping it a tad disrespectful.

Ephesus was awesome, it really was awe-inspiring and amazing, the architecture, layout all worked with stone and utterly beautiful, yet again, a sadness came over me as I thought how it must’ve been like and how it has fallen into ruin. Ephesus used to be by the sea, but the sea retreated contributing to it’s downfall, but waves of marauding barbarians destroyed Ephesus ensuring it’d never rise again and will be just a monument and a place where tourists tread.

I think moody Black and White would’ve worked better for photographing these ancient monuments and cities, and for those interested, read the excellent Southern Frontiers by Don McCullin – a big book full of beautiful B&W Large Format plates of photographs taken in similar places throughout the Southern Frontier of The Roman Empire.

“Ephesus (/ˈɛfəsəs/;[1] Greek: Ἔφεσος Ephesos; Turkish: Efes; ultimately from Hittite Apasa) was an ancient Greek city[2][3] on the coast of Ionia, three kilometers southwest of present-day Selçuk in İzmir Province, Turkey. It was built in the 10th century BC on the site of the former Arzawan capital[4][5] by Attic and Ionian Greek colonists. During the Classical Greek era it was one of the twelve cities of the Ionian League. The city flourished after it came under the control of the Roman Republic in 129 BC. According to estimates Ephesus had a population of 33,600 to 56,000 people in the Roman period, making it the third largest city of Roman Asia Minor after Sardis and Alexandria Troas.[6]”

http://en.wikipedia.org/wiki/Ephesus

The Ruins of Ephesus, Rolleiflex 3.5F Agfa Ultra 50.

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did however go to Seljuk, and Ayasoluk Hill and explore the ruins of St Johns Basilica and the Byzantine fortress overlooking the hill – and resting upon where the Gospels were said to have been written down.
And at the base of the hill is to be found The Temple of Artemis; in ruin, with a sadness in the air but with a hidden majesty which befits one of The 7 Wonders of The Ancient World.
Walking around the ruins is an episode in itself, I could sit there for hours and reflect.

“The Basilica of St. John was a basilica in Ephesus. It was constructed by Justinian I in the 6th century. It stands over the believed burial site of John the Apostle. It was modeled after the now lost Church of the Holy Apostles in Constantinople.[1]”
http://en.wikipedia.org/wiki/Basilica_of_St._John

The Ruins of St Johns Basilica from Ayasoluk Hill, Seljuk, Turkey. Rolleiflex 3.5F Fuji Velvia 100.

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The Byzantine Fortress at Ayasoluk Hill. Rolleiflex 3.5F Fuji Velvia 100.

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http://en.wikipedia.org/wiki/Temple_of_Artemis

“The Temple of Artemis (Greek: Ἀρτεμίσιον, or Artemision), also known less precisely as the Temple of Diana, was a Greek temple dedicated to the goddess Artemis and was one of the Seven Wonders of the Ancient World. It was located in Ephesus (near the modern town of Selçuk in present-day Turkey), and was completely rebuilt three times before its eventual destruction in 401.[1] Only foundations and sculptural fragments of the latest of the temples at the site remain.”

The ruins of The Temple of Artemis, Seljuk, Turkey. Rolleiflex 3.5F Fuji Velvia 100.

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In this picture you can see the Byzantine Fortress and St John’s Basilica atop Ayasluk Hill.

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A wonderful place which you’ll need weeks on end to visit and explore, I have only included a small selection of photographs here as there’s a wealth of things to see and experience, olive groves, peach trees, sleepy hillside villages, Greek Churches, boats and orange trees, and of course bazaars, market towns and fantastic food and people.

A wonderful place for the photographer.

Jul 102014
 

The Urban Jungle with an OMD E-M5

By Matt Stetson

Hey Steve and Brandon,

I was introduced to your site by a friend almost 3 years ago and have rarely missed a day since. My name is Matt Stetson I live just outside of Toronto Ontario Canada.

I got into photography around 6 years ago when I broke my wrist snowboarding. I wasn’t going to be able to ride for a while so I figured the next best thing would be to take photos of all my friends who could. The more I shot the more I really began to enjoy photography and the whole process. After a few years of acquiring gear and experience I started to get published in magazines.

My favorite type of skateboard and snowboard photography is when it happens in the streets. Each and every city is a concrete playground and it’s always exciting to see how athletes interpret different features. I love how street style photography is similar. Each city is its own “Urban Jungle”. It’s always interesting to see how people act and react within their environment.

I was introduced to street photography mainly through this site. The more street style images I saw the more I began to really love the genre. I love all of the textures, shapes, architecture, and people you can encounter on any given day walking through a metropolis. Also I love how that same place can be so greatly different from day-to-day depending on weather, time and season.

After many hours reading reviews on this site I decided to buy an Olympus OMD EM5 with the Panasonic 20mm 1.7 and Oly 45mm 1.8. The smaller lightweight body and lenses are just way less intimidating while walking down the street. I don’t get the crazy large files that I do with my 5D MKII but I don’t need them for this application. I also love taking it to family events and vacation/trips. The size is just not a factor, so the camera fits wherever I have space left over, instead of having to create space for my camera gear.

I would love to share a skateboard and snowboard photo, as well as a few of my favorite street images. I really appreciate all the great content and inspiration that you guys post. I hope that I can be a part of it. You can also check out my website here: www.stetzphoto.wix.com/mattstetson

Thanks
Matt Stetson

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Jul 102014
 

Using a Zoomfinder

By Steve Tsai

Hello Steve Huff Photo community, I have stumbled across an invaluable side benefit of a zoomfinder in my photography process and would like to share my experience with it. It is for wide-angle application and architectural interior photography in this report, but hopefully it can be beneficial for other applications as well!

For those unfamiliar with a zoomfinder, it is an external finder with a zooming capability for compositional aid, typically used on a rangefinder or a non mirror-reflex camera. It mounts to the hotshoe and there are a few choices out there. In my case I use the Voigtlander Zoomfinder, Arca Swiss Vario Finder, and to a small extent the Alpa eFinder App on the iPhone.

Framing aid Apps on the smart phone is pretty handy indeed but the requirement of an external wide-angle lens adaptor and the annoyance of dealing with electronic device where multiple button presses, non-instantaneous viewing, and concerns of battery life hinder the speed and usability for me so I am skipping it in this report.

Below are brief descriptions of the zoomfinders in use:

The Arca Swiss Vario Finder

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Along with different masks it simulates framing including rise/fall and shifted lens positions. Users zoom the housing to desired lens focal length marking and put a corresponding metal mask on the front which clips on by the recessed magnets in the front frame. There are 3 masks in total but for my use I only need 2 of them. My finder is an older design, newer finders have guided pin slots which is even cooler for keeping orthogonal movements.

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The mask can be slid in both axis to show movement – each dot simulates 5mm of movement and can be seen through the viewfinder. Here is a view that simulates 10mm of rise and 10mm of left shift.

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The image quality is nice and bright, with apparent barrel distortion, gets much better when zoomed in though. The image appear to be slightly blurry on the periphery if your eye is not in the right position or not square to the eyepiece which acts as a clever visual feedback to put your eye in the right position for accurate framing. The proportion is 4:3 which corresponds to medium format digital back sensor size.

Here is how it looks like when mounted on the technical camera, it has mounting foot for both landscape and portrait orientation.

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Voigtlander 15-35mm Zoomfinder
This a well designed and solidly-built finder which operates similar to a zoom lens. There are notched positions for focal length presets similar to aperture ring on a M rangefinder lens and has a built-in diopter on the eyepiece. Depending on the model it will also indicate equivalent focal lengths for various cropped sensors. In use on a rangefinder it is a bit of a dance as Steve explained in a previous post. Metering and framing are carried out by viewfinder on camera and the Zoomfinder separately. Due to the larger distance it mounts away from the lens, parallax effect is more exaggerated for closer distance subjects with the super wide lenses. Here is how the zoomfinder looks like when mounted to the M9-P.

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The experience is similar to an SLR where views are masked instead of frameline overlay of a rangefinder, there is a dotted line on top to indicate close range frame edge. The images quality is excellent, distortion is very mild and zoom simulation works extremely well. There is slight fringing if you point at bright sources. The proportion is 2:3 which corresponds to small format sensor size. Here is a comparison showing 15mm and 35mm views, note the slight fringing.

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Now to the main point of the article – how the zoomfinder can make our lives easier. For years I have looked for solutions that will help with certain challenges I encounter on a shoot – which the zoomfinder eventually solved for me.

Here are the benefits:

1. Scouting Aid
Prior to the shoot, one can go around the space and preview contemplated scenes using various focal lengths in a very nimble fashion. For architectural interiors, one frequently gets pinned to confined space during framing, it is much easier to handle and preview with such a small and light device.

2. Visualization and Focal length selector.
For those of us sensitive to the compositional impact related to exaggeration of perspective inherent in various wide-angle focal lengths it is sometimes hard to choose the proper prime lens without preview. The zoomfinder shows the effect in combination with the physical distance to the subject. You can quickly decide if you want to stand back and use a 28mm or get closer and use a 24mm along with the look of each lens. It is such a time-saver. The relatively low optical distortion in the viewfinder just makes the preview actually enjoyable and non-distracting compared to lower grade viewfinders.

3. Stitching Preview
For those of us that use shift lens and stitching capture workflow it is hard to see the composition during the shoot. Through my own tests I have worked out equivalent focal length of the stitched focal length. The 24 PC-E becomes 18mm with cropped sides or 21mm safe frame. The 45 PC-E becomes 28mm with cropped sides or 35mm safe frame. Safe frame is for cropping out the corner vignette when maximum shifts are used. You can quickly preview the finished image with the zoomfinder. Here is an image that shows 3 images from capture and the finished stitch.

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4. Camera Position Aid
The effect of camera height is very important in interiors. With the viewfinder I can preview the scene and determine exact camera position very quickly. Once I identify the desired position, I will hold the zoomfinder in place with one hand and then drag the camera + tripod over with the other hand to match the optimal position quicker and then fine tune to suit.

For the benefits above, the zoomfinder has become so invaluable that I carry it on me during the shoot at all times. Previously I used a mini ballhead along with a tripod button and a safety noose.

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Early on in the year I dug into my luthier roots and made a stabilized hardwood handle for it. A belt clip gun holster provides easy reach and secured carry. I often have to move furniture and arrange items in the scene so the belt clip is the best carry as it will not swing around during active motions.

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I know this is a very specific application and a small camera with a wide zoom can achieve the same function. However the small size and simple, convenient use during a physical shoot just makes it so much easier for me. If there is a wish to make it even better… a 15 to 50mm zoomfinder would make it out right amazing although definitely not at the expense of distortion though! The experience is so important and can make your shoot enjoyable when scenes do not appear warpy like a Salvador Dali painting. I have considered a dual hot shoe that mounts both the zoomfinder and a separate 50mm finder but it will make the size much larger and stability would be of concern.

If one can make a custom precision mount that adapts the zoomfinder to a smartphone it can be used as a good quality wide angle zoom adaptor as well. Maybe it will be a project for the DIY crowd with a 3d printer out there!

Maybe in 5 years google glass will have a thought controlled view window that can zoom and crop to simulate a viewfinder – consider this a free idea if anyone wants to take this on with crowd sourcing!

You can find me at:

Website
http://www.stevetsai.photography/

Stevie Rave On blog
http://stevetsaiphotography.com/wp/

Flickr
https://www.flickr.com/photos/stevieraveon/

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