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 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 052015
 

All Rights Reserved

The Southwest in Infrared 

by Alexandra Shapiro

Last November I attended Steve Huff’s Southwest Workshop along with about two dozen other photographers from all over the world. We visited some beautiful places in Arizona and Utah, including Antelope Canyon, Rattlesnake Canyon, Horseshoe Bend, Zion National Park, and Sedona. These sites presented extraordinary opportunities for landscape photography. The workshop was also a great opportunity to meet some amazing photographers and do some hiking (Angel’s Landing at Zion was a particular highlight in terms of stunning scenery and a challenging ascent).

At some of the locations I used a specially converted digital camera that captures infrared light. A few years ago, I began experimenting with digital infrared photography, and found that it to be an interesting way to capture unusual and sometimes surreal images. My earlier user report can be seen HERE.  It provides some basic background on digital infrared technique and examples of infrared photographs that I took before the workshop.

On this trip, I used a converted Canon 5D, which has an “enhanced color” infrared filter, with a Canon 16-35 F4 L lens or a Canon 8-15 F4 L fisheye lens. Even though the 5D model is almost 10 year old, I have found it works extremely well for infrared work and can produce stunning images when paired with the right lens. (The main downsides are an out-of-date LCD and lack of live view, since manual focus is sometimes necessary for infrared work; personally, I don’t mind the 12 megapixel sensor and have even made some relatively large prints from images taken with this camera.) The 16-35 zoom, a relatively new offering from my Canon, is very sharp, and the image stabilization was particular useful in some spots, because the 5D is best shot at low ISOs and I prefer to shoot at f8 to f16 for infrared landscapes. The lens can also produce some amazing sunstars.

These are a few shots from the trip, taken at Antelope Canyon, Horseshoe Bend, and Zion. All but one of the images was taken with the 16-35. I shot in raw and used Capture One for white balance and exposure adjustments, and then converted the images to tiffs. After that, I used photoshop to swap channels, and tweaked the colors and/or converted to black and white using plug-ins such as Nik’s Viveza 2, Alien Skin Exposure 7 or MacPhun’s Tonality Pro. The same image of horseshoe bend appears in both faux color and black and white, so you can see some of the different possibilities with color and black-and-white infrared technique. There are also a couple of examples with strong flare — some may not like this, but I think the flare that infrared photography sometimes produces can create interesting effects.

All Rights Reserved

All Rights Reserved

All Rights Reserved

All Rights Reserved

All Rights Reserved

Southwest ir (6 of 9)

All Rights Reserved

Southwest ir (8 of 9)

Southwest ir (9 of 9)

Some of my other infrared work can be found here: https://www.flickr.com/photos/alexandrashapiro/collections/72157633129472726/

This is my flickr account: https://www.flickr.com/photos/alexandrashapiro/

And here is another guest post I did for Steve: http://www.stevehuffphoto.com/2014/01/14/user-report-iceland-with-the-leica-m-240-by-alexandra-shapiro/

Alexandra Shapiro

Dec 272014
 

Perfect and Special Shots

by Dirk Dom -See a few more posts from Dirk HERE

Hi!

I’m a mechanical engineer, specialized in machining. I never had any kind of art training. I made the switch from technically competent to artistic photographer four years ago. I’m sorry if that sounds like bragging, but to me the switch was very obvious: my productivity increased tenfold, I discovered images everywhere and my images got different. I think a lot about my work, and I put out the following to check out if this makes sense.

I wonder what impact my prints have on other people, who just see them. People get such a barrage of extremely beautiful, interesting and spectacular images during the 40,000 photorealistically engineered images they get on TV commercials every year that it’s little use trying to compete with that with just your own photographs. For me, every print is a work. I searched for it, waited for it, discovered it, shot it, went back for it, processed it, printed it, etc. To people, it’s just one of a hundred thousand nice images. Maybe I should go for images with more than just beauty. I got sent thirty images from a friend, all supposed to be the very best in the world, you know one of these typical things that get sent on the Net. Four or five I considered interesting, these had something extra. I looked at ten years’ worth of winners in a big photo contest and four images appealed to me. I think the shots I selected now for my spring portfolio all have something extra, but other people may not think so. Perfection and something extra aren’t the same. Perfection does get boring: I got the comment with my former shots that, yes, again, all just perfect and extremely beautiful, but all the same and boring.

I did a show in the Arboretum in Kalmthout, three months, with twenty-three 2 foot 8 inch prints, flowers and insects. All extremely beautiful images, but without something extra, I now see. No feedback at all. People couldn’t care less. When I took these and processed them, I wasn’t at the stage I’m at now yet. A year ago I almost stopped flower photography because there was no challenge in it anymore. I started doing flower shots with something extra this spring, and I think that now, I’m on the right track: the challenge is back.

Here’s what I mean by having a perfect shot and a shot with something extra:

This is a perfect shot. It can’t get any better, but there are thousands and thousands like it. To me, taking a shot like this is routine and boring. Put me anywhere in a place with flowers and I’ll make twenty like these, all perfect, without any effort.

image005

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This is flax. I simplified the shot. Very beautiful, perfect. Although nice and pleasing, there are thousands of shots like this.

image003

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This is a shot with something extra. The background is not what you expect, the framing is different, it reads from right to left and the middle flower isn’t perfect. Discovering it while shooting is a true surprise and the outcome is, too. I now know how to search for such a shot, I discovered it two years ago.

image007

Shots like this one above are extremely rare, I have maybe ten of these, but it’s also gotten routine.

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Here’s another one:
Who’d shoot a stupid green flower which isn’t perfect? Yet it has a great impact to me.

image009

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An insect shot I consider interesting. Such images don’t just happen. You need to discover your subject. This shot took me ten minutes of gradually improving until I got it right.

image011

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My nuclear blast images fall into the interesting category I think, but they’re so rare, I shoot max. one or two a year and I only figured out how to discover and make them reliably four months ago. But here we get into another problem: although this image is made in the forest and only had minimal postprocessing, no one is going to believe that. It’s instantly dismissed as a Photoshop gimmick and so it’s worth is zero.

image010

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Of course I do photoshop gimmicks. They are too much fun!! This is an image of a little seed and a flower. I call it “Alien Encounter”. It reminds me of the “Doomsday machine” episode of Star Trek. I think this is an interesting shot. It took me many minutes to discover it after I saw the plush.

image017

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Perfection has its price. For four years I shot hamamelis in February, I took hundreds of shots, searching like mad amongst the hundreds of thousands of flowers, all nice, maybe close to perfect, but boring.
Then this shot happened to me:

image018

This was what I had been striving for. I never shot Hamamelis again.

But maybe I shouldn’t go for the gimmick effects but for the truly exceptional:

image019

I’ve been shooting this kind of flower for thirty years, until I discovered this one in deep shade in the forest, with just one petal remaining. That was four years ago. The shot took no effort at all. Only at home I discovered what I had. I haven’t bothered shooting this flower again because I can’t top it.

I’ll never make an image of this simplicity with this kind of light again. I consider it the best I’ve ever made.

There is no info about stuff like this at all on the Net. I don’t know where to go to get tutoring on such things. I really wish I could do art school, but that ‘ll have to wait until I’m retired.

I realize I put myself wide open to sarcasm by calling my own shots beautiful and interesting. So be it. What I’d like to know is if I’m on the right track here. What do you think about perfect and interesting shots?

Bye,

Dirk.

Dec 242014
 

My Favorite Camera Shops & Dealers. Ever.

There are so many camera shops, store, internet sites and dealers out there ready to take our cash and send us a new fresh box of happiness. If you are like me, receiving a new package from the Fed Ex or UPS man brings  not only a smile, but a rush of energy, happiness and joy.

I love my cameras and over the last 20 years I have learned WHERE To buy from to get the most hassle free and enjoyable experience, as well as the best deals sometimes.

I always get e-mails asking me “where should I buy XXX camera”? Well, here you go. These shops are also site sponsors because I accepted them as sponsors (I turn down many every year). 

Over the years I have recommended the same dealers here. Those that I have worked with and bought from on many occasions. I have shopped from a few other sources but sometimes have had a negative experience so this is why I only recommend those who I trust and those who have really went above and beyond. I only allow advertisers and sponsors whom I trust and support back and know would never rip anyone off.

Look what the USPS man drug in..direct from Ken Hansen. The Leica Monochrom in silver chrome and the new M-P in black. 

DSC02764

Below is a list of whom I buy from, who I have had great experiences with and all of those that I trust and put my name behind when it comes to camera dealers and shops!

1. Ken Hansen – This guy is everything LEICA. He has been a Leica dealer forever and used to own a store in NY. He now works from his home as he is semi-retired but his Leica business is still going strong with many Leica shooters praising his name every day. Ken has become a legend..legendary. I have never in my life experienced anything like Ken from ANY shop, dealer or store, ever. He goes above and beyond and the funny thing is he does not even have a web site, a Facebook or twitter ;) He runs it all from his home via phone or e-mail. He has been with me since day one and you may have seen his ad in the sidebar before. It will be there for the life of the site because if it not for Ken (and a couple of other friends) this site may not have made it!

Ken has new Leica and often times has used items and unique items as well. Just call him at 212-879-3263 or send him an e-mail at [email protected] and let him know what you want, need or are looking for. Most likely, he will have it. Plus, mention my name and you may get a bit of a deal..maybe. I stand 100% behind Ken Hansen.

2. B&H PhotoThese guys are the king of Retail and Online sales. They do MASSIVE volume. I mean MASSIVE. I have been to the store and it is a sight to see. Hundreds of customers at any given time, long lines to check out (but they go fast) and conveyer belts that travel through the store to deliver your goods when you exit. Amazing. They have the best online experience I have encountered. First, if an item is in stock and ready to ship, it says so clearly. If it is not, it clearly states this. No guessing games. They ship same day as well if you order before a certain cut off time. So technically you could order a lens on a Monday morning and have it arrive Tuesday. They also are top notch on their returns, undo nay to Amazon. It is an online automated process, never needing to email someone or call someone for an RA number. B&H Is the king of camera retailers. You can see their site here and they sell all kinds of goodies, not just photo related. They are sort of a giant electronics megastore. I give them a 100%!

3. Amazon- Who does not shop from Amazon? Myself and everyone I know shop at Amazon and they are doing amazing things..amazing. Amazon is the future of internet shopping, food shopping and everything in between. I believe in 10 years Amazon will have the most amazing services. You can get anything and everything from Amazon. I have certain household items get delivered every month using their subscribe and save feature and I also buy tons of music (LP’s) and camera accessories such as Gariz cases, caps, batteries, lights, etc. They have anything and everything. Click here for a link to Amazon and see for yourself. Never an issue with them, ever! The return policy and process is painless and simple. You even get a label to print for easy return. My score = 100%!

4. PopFlash.com - PopFlash has been around for a long long time and Tony Rose is the man who owns and runs it. He is well-known among Leica shooters but he also sells Fuji, Olympus, Zeiss and many other brands at his online shop. I have purchased Leica lenses, cameras and Artisan and Artist bags and cases from PopFlash and Tony always comes through. They have some superb prices as well and when you see the “used/mint” pricing on some Leica items you may be super tempted to go for it. Check out the site at PopFlash.com! 100%

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5. The Pro Shop - These guys are great and know their stuff. They have years of experience and sell Leica, Nikon, and even the Hasselblad Stellar and Lunar line. They have so much to choose from so here is where I would go for not only the best camera brands but for some of the best advice and experience. 100% for these guys as well! You can call them for info at 561-253-2606 or see their website HERE.

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6. CAMERAQUEST - Run by Stephen Gandy this long time Voigtlander dealer has just about anything you could ever want from the brand. There are a few Voigtlander lenses that stick out to me and some I like better than Leica glass! The 35 1.2 II, the 15 4.5, the 50 1.5 Nokton, all superb and all a fraction of the cost of a Leica lens. If you want a great buy and fast shipping on Voigtlander lenses then you must check out CAMERAQUEST! 100%! Check out the shopping site HERE!

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7. Leica Store Miami – These guys are in actuality Dale Photo in Florida, but this site is much improved and all about LEICA. This shop has it all from cameras, lenses, cases, accessories and even used Leica cameras and lenses. I bought my fancy Leica case from them and my shipment arrived in one day. You must check them out! I give them an easy 100%. Never an issue. Never a problem. You can see their site HERE. 

As you can see, all six shops/dealers get a full 100% from me because I would not recommend anyone who I did not shop with, buy from or feel 100% about. If I was 90% I would not recommend them! If you buy from ANY of the above dealers you will not be disappointed. With Amazon, if you have an issue the return policy is so good you can just return it. No questions asked. Just be sure to buy from Amazon and not a third-party (or prime). Same with B&H and some of the others. For me it should be about customer satisfaction and all of these do it very well.

So there you go, my fave dealers and vendors. When you want to buy a camera or lens or accessory or ANYTHING, check them out! They are what help to keep this site running!

Dec 232014
 

Merry Christmas To All!

Hello and good morning to all! It’s just a day before Christmas Eve which means I will be taking it easy over the next couple of days so this means there may not be many posts between now and December 26th. I will still be here and will be working on my A7II review but I will be heading up to a log cabin in Northern Arizona for the next few days to enjoy the Holidays with family.

I hope everyone here is having a fantastic holiday week! I will be posting a couple of articles over the next 3 days and hope to have my full A7II review up by December 29th, 1st thing.

Below is a shot or two I snapped inside a bar last night that fills its interior and exterior with thousands of lights for Christmas. I felt it was the perfect opportunity for the Noctilux f/0.95. So what you see below is using the Noctilux wide open inside the bar, which was only lit with these lights.

Happy holidays to all and thanks for helping make 2014 another great year for SteveHuffPhoto.com!

Below, three shots OOC from the A7II and Leica Noctilux at 0.95. This lens turns reality into dreamland ;) Thanks to Ken Hansen for the lens!

noctdebmeg

DSC06143

noct4

 

Oct 272014
 

2014: What was the biggest and best camera release this year TO YOU?

Unless someone drops a bomb on us at Photo Plus this weekend, 2014 has been the least exciting year in camera releases in the past 5 years IMO. For my tastes, there has been ONE camera, maybe TWO that were announced and released SO FAR this year that were truly ground breaking and exciting. For cameras, Photokina was a bit of a bummer for my tastes IMO. Sure, there were some cool cameras announced like the Panasonic LX100 and there are cameras coming in November that will be fantastic but nothing really “exciting”. Years past have brought us the Sony A7, Leica M 240, Leica Monochrome, Sony RX1 and RX1r, Sony RX100 series, and the Fuji X100 series. This year we have the latest Fuji X100T, which is an improvement yet again on the X100 series, and will be one of the good ones IMO. Nothing groundbreaking, but fun. The Leica T was released this year and took off big but then stalled a bit and I feel it is due to the lenses being overpriced for the T system. The X was another update that was welcome but with the close focus aperture issue, not one that excited me.

For me, there was ONE camera released this year that ticked al of my boxes, that struck a nerve and is the one I am still using every day since it arrived to me.

The Sony A7s. 

SAMSUNG CSC

Yep, a mirrorless full frame with a measly 12MP is my current favorite camera and for many good reasons. It’s a nice size, it works great with Leica M mount wide angles, even the Voigtlander 15mm, it has the best low light and high ISO performance I have ever seen and the AF is amazing, even in darkness. Using Leica M mount lenses with manual focus is a breeze and gives us that same Leica signature that is due to the lenses. No need for a Leica M unless you really want the beauty, build and experience of a Rangefinder. The Sony A7s is a wonder camera and an artists camera. Fantastic with the best color and AWB of the A7 series, superb with B&W images and small enough to take anywhere.

Almost any lens is adaptable on it as well via adapters. Many companies are now making Sony E mount lenses as well.

feet

Sony did it right with the A7s and I am so glad they went with 12MP as my max MP count that I can get into is about 20 give or take a few million. But 12mp is fantastic. Keeps the file sizes low. Keeps the editing quick and it has enough resolution to print huge if you so desire. I have seen 40″ prints from the A7s that were GORGEOUS and shot at high ISO’s over 10,000 in low light conditions. Amazing things can be done with the A7s that can not be done with 99% of other cameras. You can buy one HERE. 

I love my Olympus E-M1. I love my Leica M and MM. But the star of my collection is actually that A7s. 

The cameras that interest me this year are the Panasonic LX100 and the Fuji X100T. That is about it. I know Sony has something big up their sleeve but not sure when they will announce it, if at all.

SAMSUNG CSC

I also tested and tried out the Lytro Illum recently and was not a fan. It took me back to the days when I reviewed the original, which I actually prefer due to the size and fun factor. Putting that tech in a large cumbersome body is not so fun, especially when the results are lackluster and you need dedicated software just to view the images. LIMITED DR, NOT USABLE INDOORS, BEST WITH CLOSE UPS, LOW RESOLUTION, BIG BULLKY BODY. Ugg.

I feel the future of camera design lies with Sony, Fuji and yes, even Leica. Olympus and Panasonic is up there as well but the others seem to be lacking when it comes to releasing something that gets the masses excited. I remember when Fuji released the X100 (the 1st version) and the excitement was THROUGH THE ROOF! These days, excitement seems to be lackluster from what I am seeing online and in social networking. Sure, there is some excitement but nothing that makes us say WOWOWOWWOWOW! For me the DSLR’s that have been released have been more of the same old same old.

So, is there a camera that was released this year that excited you? If so, leave a comment and let me know which one it is! From what I see most are excited about the $899 LX100 and the Leica red dot version, the D-LUX Typ 109 at $1195.

 

Oct 102014
 

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

By Andy Jackson

Hi Steve,

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

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

Ludi 02 - Rolleiflex

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

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

Branko - Rolleiflex

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

Doris yoga 02 - Rolleiflex

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

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Preparation and handling.

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

I shoot the odd landscape. Dolomites, Italy.

Dolomites - Rolleiflex

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

Francois - Rolleiflex

Shooting family and friends and others.

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

Rolleicord. My son Noah on a rainy afternoon.

Noah - Rolleicord

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

Noah bamboo - Rolleiflex

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

Noah field - Zeiss Ikonta

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

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

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

Stephen Bartels - Rolleiflex

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

Rodigan and Ricky 16bit

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

Terje Haakensen - Rolleiflx

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

Tomi Toiminnen - Rolleiflex

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

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

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

Lisa Marie - Rolleiflex

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Ludi again.

Ludi 01 - Rolleiflex

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

Viktoria - Rolleiflex

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

All the best,

Andy Jackson

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

Shoe repair dude - Rolleiflex

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

Paul Clements - Rolleiflex

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

Noah goose - Rolleiflex

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Reflection in a pond.

Noah pond - Rolleiflex

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Ice cream on a Sunday.

Noah ice cream hut - Rolleiflex

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

Kayla - Rolleicord

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

Ingemar ©andyjackson

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

Grandma - Roleliflex

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

Glenn - Rolleiflex

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

Forest - Rolleicord

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

Gabrielle Du Ploy - Rolleiflex

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

Charlies Camden - Rolleiflex

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

Alex yoga - Rolleiflex

Oct 012014
 

joetitlemoon

Supermoon Photoshoot at 1620mm with Nikon V3

By Joe Marquez – see his website at http://www.thesmokingcamera.com

(from Steve: This is one of the coolest posts I have placed here in a long time…love it! Thank you Joe for the beautiful work and showing what the Nikon 1 system is capable of)

A couple of months ago, while out shooting with the mirrorless Nikon V3 and 70-300cx lens (189-810mm equivalent field of view – FOV), I noticed a hiker on a nearby ridge top – and a beautiful, bright moon above. I took a few shots and was quite pleased with the results. The V3 and it’s tiny sensor does surprisingly well in good light. Now I wondered how it would look if I attached a super telephoto lens and photographed the hiker directly in front of the moon. What about a ballerina silhouette? I decided to find out.

As you may know, the Nikon V3’s one-inch sensor results in the equivalent of a 2.7 increase in FOV. In essence when a Nikon FX lens is attached via the Ft-1 adapter, the V3 becomes a 2.7 teleconverter with no loss of light. Thus a 600mm lens becomes 1620mm.

Initially my plan was to photograph a single ballerina in front of the super moon. However, I began considering everything that could go wrong: weather, inability to focus at night, DOF issues, instability, inaccessibility and of course all the unforeseen inevitable mistakes I normally make. So I decided to increase the number of shoots to insure I would get a decent image or two.

Now I had to get my hands on a $10,000 Nikon 600mm f4 lens. So, I went to the only camera store in Hawaii with uber cool rental equipment, told them about my project and they agreed to sponsor my efforts. Here’s a formal thank you to Hawaii Camera (www.hawaiicamera.com) for supporting this little moon project of mine.

Using a number of online programs I determined optimum times and locations to photograph the moon as it crossed the ridge. And because the ridge runs north south I was able to shoot as the moon rose in the east and several hours later as it set in the west. Thus, everyday I had two opportunities at the moon. So over the course of a week I planned fourteen separate photo shoots. Only later I realized, I didn’t factor in time for sleep. Oh well, can’t think of everything.

I then called upon many friends – models, performers, cosplayers, ballerinas and dancers as well as fellow photographers to assist. Altogether 43 people were involved in this moon project. Call times ranged from late afternoon to early morning before sunrise. Most participants had to hike the steep ridge at night with headlamps. We required a spotter or assistant for safety and we communicated via two-way radios or cell phone. One cosplayer’s outfit weighs 133 pounds and required ten trips to get the costume into position. A super thank you to everyone who participated.

While the models and spotters were climbing the ridge, I and an assistant down below had to deal with traffic, trees, wires, poles, houses, basketball players, dogs, golfers and sprinklers.

_DSC1231 joe marquez the smoking camera supermoon nikon v3

_DSC1305 joe marquez the smoking camera supermoon nikon v3

_DSC1547 joe marquez the smoking camera supermoon nikon v3

_DSC1564 joe marquez the smoking camera supermoon nikon v3

_DSC2061 joe marquez the smoking camera supermoon nikon v3

_DSC2624 joe marquez the smoking camera supermoon nikon v3

_DSC2816 joe marquez the smoking camera supermoon nikon v3

_DSC2996 joe marquez the smoking camera supermoon nikon v3

_DSC3118 joe marquez the smoking camera supermoon nikon v3

_DSC4508 joe marquez the smoking camera supermoon nikon v3

_DSC6066 joe marquez the smoking camera supermoon nikon v3

_DSC6105 joe marquez the smoking camera supermoon nikon v3

_DSC6320 joe marquez the smoking camera supermoon nikon v3

_DSC7520 joe marquez the smoking camera supermoon nikon v3

_DSC7521 joe marquez the smoking camera supermoon nikon v3

_DSC9948 joe marquez the smoking camera supermoon nikon v3

_DSC9917 joe marquez the smoking camera supermoon nikon v3

_DSC9129 joe marquez the smoking camera supermoon nikon v3

_DSC7130 joe marquez the smoking camera supermoon nikon v3

_DSC3311 joe marquez the smoking camera supermoon nikon v3

In the end everyone had a fun and unique experience and a good number of wonderful photos. In addition, I learned a tremendous amount about shooting the moon. Foremost is the moon moves so quickly when viewed at 1620mm there is often only a moment or two to get the shot. Secondly, the moon has quite a variety of looks due to clouds, time of day or night and so on and I had to constantly and quickly change my exposure settings. Finally, the Nikon V3 did an excellent job on this project and I wouldn’t hesitate using this little camera for other super telephoto projects.

In fact next month at full moon, I plan to again use the Nikon V3 and experiment with lighting, fashion, a bride in her wedding dress, video and a surprise or two. Amazing what is possible when you utilize a camera’s strength to its fullest.

Sep 272014
 

The Leica X Size? See it next to the X2, Vario, RX1, X100s and Leica M4

Thanks to the useful site CAMERASIZE.COM we can see the actual size of cameras when compared to other cameras we may be interested in. Many have been asking about the Leica X Typ 113 size compared to the X2 or even X100 or Sony RX1. Well take a look below for yourself and be sure to check out canerasize to see whatever you want side by side with the X or any camera you desire :)

As you can see the new X is larger than the old X1 and X2…

Screen Shot 2014-09-27 at 12.19.58 PM

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It’s very similar in size to the X100 but with a larger lens protrusion…

Screen Shot 2014-09-27 at 12.20.28 PM

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Next to the X Vario we can see what shell they used for the X :)

Screen Shot 2014-09-27 at 12.22.53 PM

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It is larger than the power packed Sony RX1, which is full frame with a full frame 35 f/2 lens!

Screen Shot 2014-09-27 at 12.20.13 PM

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…and next to a Leica M4, looking good!

Screen Shot 2014-09-27 at 12.20.48 PM

The Leica X feels good in my hand, feels substantial and solid. Gorgeous and the IQ is beautiful as well. Review soon!

Sep 262014
 

petzvaltt

A quick 1st look video on the Petzval Art Lens!

Received this gem yesterday from Cameraquest.com and upon opening the package I was surprised at the quality of the packaging, and then the gorgeous hefty all brass lens inside. For me, at $600, this lens is priced JUST RIGHT as you are getting not only a unique lens for those times when you want that classic look and wild bokeh, but you are also getting a piece of art in the lens itself, which is a huge conversation starter. Go out shooting with it and you will be stopped throughout the day asking what you are shooting with.

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Besides being an 85mm f.2.2 lens, it is a classic formula and will give you a classic look. The original Petzval lens was created by Joseph Petzval and this one is sort of a replica though not quite the same of course. Even so, this lens will give you some crazy unique portraits with bokeh that is out of this world. My full review will be up within 2-3 weeks but for now, check out my 1st look video below! I will state that it is easy to focus using focus peaking on my Sony A7s, no issues at all, and quite easy to nail/hit focus.

You can order this unique lens at CameraQuest.com HERE. 

Sep 222014
 

Convert a Leica M3 to Digital with Sony A7 Sensor! Kickstarter


How cool would it be if you could take a Leica M3 and plop in a Sony A7 full frame sensor, and use that M3 as a full digital camera with the possibility to swap sensors in the future? I remember talking about this 8-9 years ago with a few people and today, it could be a reality if this kickstarter takes off! Well, for the guy making it anyway.

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There is not much for ME to say so I will link you to the Kickstarter itself which you can see HERE. All that is needed to fund this one is 3,000 british pounds. That is it. He is up to 640 now, so should not be a problem getting it going.

He also has a website HERE with more explanation on his FIRST project, the Frankencamera I which was a Konica S3 turned into a digital. Check it out as this could be uber cool if it actually happens.

A Leica M3 rangefinder converted to digital with a full frame Sony sensor could be something to behold!

 

Sep 102014
 

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Shooting Ephemerisle 2014 with the Sony A7S and a Voigtlander 35mm f1.2

By Judd Weiss – Visit his site HERE

Most places I go lately, I am the best photographer around. But I come to Steve Huff’s site and community specifically because here I am definitely not the best photographer. I’m learning fast, but I’m relatively new to photography, upgrading from a point and shoot to the original Sony NEX 3 only about 4 years ago. Discovering Steve’s site almost 3 years ago was a major turning point in my photography. I started taking it more seriously when I saw what you guys were up to. I’ve been inspired. The daily inspirations that so many of you have contributed has made me rethink what I’m doing with the camera I’m holding. I’ve never taken any photography classes, but that doesn’t mean I haven’t received an education. This community around Steve Huff’s blog is one of the greatest influences on my development as a photographer. So thank you to all who have contributed their vision and creations here. I am very grateful. (Thank you Judd!! Steve)

I’d like to also make a contribution, from my favorite work yet. I shot this entire set of photos with the new amazing Sony Alpha A7S full frame mirrorless camera, with a manual Voigtlander Nokton 35mm f/1.2 lens. That combo allowed me to achieve low light shots never before possible in the history of photography. Ephemerisle was the perfect event to test out what the Sony A7S can handle in extreme low light. And the Sony A7S was the perfect camera to capture the experience of the dark glowy night that made Ephemerisle shine.

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These shots are unapologetically processed, and I admit I went a bit intense with the colors, but I wanted to, to accurately reflect the surreal nature of Ephemerisle. Some of these photos are a little abstract, but believe me when I tell you those are very true to the experience. What a visual experience! Ephemerisle was incredible. I did the best I could to run around and convey what it was like to be there, over stimulated by this new beautiful foreign universe everywhere you looked.

It’s fair to think of Ephemerisle like Burning Man on the water. Imagine a bunch of RVs at Burning Man connected together, but floating. With dance stage platforms between them.

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I think Ephemerisle was the most exciting and fun time I have had, that didn’t involve a girl, since maybe my college days. I loved running around in that crazy dream world meeting the cast of characters you’ll see in the photos below.

I’m not saying Ephemerisle is better than Burning Man. There’s no way an event of a couple hundred people can in any way rival the scope and all the amazingness of the 50,000+ strong Burning Man festival. But I will say that I enjoyed Ephemerisle more. I loved Burning Man, but the desert is a harsh place. No doubt the sea can be unforgiving as well, but I was very happy to trade an over abundance of dust for an over abundance of water.

No way I would bring my beloved new Sony A7S and Voigtlander lens to get ruined by the intense barrage of fine dust on the Burning Man playa.

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Burning Man is incredible as it lights up the middle of the desert nowhere into an epic glorious city; being out in the middle of the water nowhere, lit up only by the most amazing glowy party you’ve ever seen, Ephemerisle too is a bright beacon of a testament to our evolutionary progress, while floating over the type of early ocean microbes of life that began it all. How far we’ve come, to create such a stunning atmosphere. A cool blend of excitement and serenity. Like Burning Man, being at Ephemerisle confronts you to face both our fragility and our promise that can only be truly seen in an intentional community that has left many of the comfortable constraints of modern society.

Stylistically people often compare Ephemerisle with Water World, and you can see where that’s coming from, only this wasn’t dystopian. Whatever was rough around the edges wasn’t post-apocalyptic, it was prototype. This is from the future, clearly. These are experiences our grandchildren will inherit when they are our age. But it’s a beautiful future. When the sun goes down, we light up even brighter. Humans evolved from a state of continual starvation in a struggle to survive among brutal nature, and now we master the harshest environments to throw parties of abundance like this for recreation. Humans have no shortage of serious problems, but it’s things like Ephemerisle that compel me to acknowledge our bright future of possibilities ahead.

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You might think I’m hyperbolizing a little much. And if I hadn’t been there, that’s totally what I would think while reading this. But there’s a reason for these reflections of anthropological grandeur. Ephemerisle is comprised of exactly the group of intellectuals, business leaders, and artists who are focused daily on the topic of our evolutionary potential as a species. These ARE the people consciously working to design a more beautiful future for all of us. What a treat it is to see one of their early prototypes. And I have to say, I’m in love with this particular prototype they call Ephemerisle.

I’ve got to thank everyone involved for coming together to create Ephemerisle. They made these photos. I just captured what I saw as well as I could. Their vision created this reality. Congratulations to all of their beautiful minds. These photos are my humble tribute.

Ok guys, get ready to watch the colors move…………

The full album and original post can be found on my blog here: http://hustlebear.com/2014/09/04/photos-ephemerisle-july-2014/

You can follow me on Instagram at http://instagram.com/juddweiss

I’m on Facebook at https://www.facebook.com/juddweiss

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Note: The widely acclaimed Canon 5D MIII could not have achieved many of these shots. For example: The below shot, while not the cleanest photo in history, was shot at 51,200 ISO (!!) at 1/125 second, handheld from a bobbing moving boat in the dark. It was challenging to stand, and hard to see clearly, let alone to take a clean photo. Try to get anything remotely usable in those conditions with another camera setup.

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Again, the below shot is not perfectly clean and crisp, but it was shot at 32,000 ISO from a moving bobbing boat.

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I love how the camera rendered the daytime shots as well.

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Sep 052014
 

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The little camera that could. The Canon G10

By Seong Kim

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

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

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

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

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

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

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

Thank you kindly,

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

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

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

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Sep 042014
 

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The Sony A7s Experience: Ongoing thoughts on a Fascinating Camera

By Ashwin Rao - Follow Ashwin on Facebook HERE

Hi everyone, here’s an update with my thoughts on the Sony A7s. This is a camera that seems to be gaining interest, particularly for those individuals who enjoy low light photography or who have a set of rangefinder lenses in place and are looking for another body. I posted these thoughts at one of my favorite forums, and wanted to share them with you, along with a few new photos, just in case you were considering buying the camera in light of the 2014 Photokina announcements.

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In summary, I LOVE my Sony A7s. It’s given me a burst of creativity and joy in shooting that I haven’t experienced since my early days with the Leica M Monochrom (and M9 before). Here are my rolling thoughts. In general, it’s the best non Leica full frame digital solution for M mounts to date, though there are compromises (for some).

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Here are some thoughts, in no particular order:

1. The camera does well with Leica M lenses. Only the 28 Summicron ASPH lens has performed “poorly” on the camera, and even it is usable for non-critical work where sharpness at the edges may not be as important. Everything else that I have thrown at it works well or is easily fixed in post processing using the lens vignetting correction tool in LR5.

2. RAW colors are solid. The camera exhibits different palette than Leica’s M9 and M240 (I prefer the look from the M9, personally, but it’s a matter of taste), and the palette seems tweaked compared to the A7R and A7 cameras, though that may just be my own eyes fooling me. Skin tones tend toward orange, but it’s quite easy to fix (unlike the M240, which I struggled to get right for peoples’ skin tones). I find that it’s quite easy to get the look that you want from A7s files with a bit of post processing

3. Dynamic range: To me, solid, better than my M bodies (no banding through most of the ISO range), but maybe not quite as good as the A7R or A7 in recovering shadows and highlights…this seems borne out by DXO testing

4. The silent shutter option is amazing: Absolutely awesome feature, that I believe re-defines this camera for those who employ it. I am surprised that Sony doesn’t allow a programmable custom button to quickly access this feature. A firmware upgrade here would be perfect. I use the silent shutter feature for nearly all of my shooting, as it eliminates any shutter shake effect (the size and design of the bodies does not allow the present A7 bodies to be very well dampened to vibraation), and the silence makes photographed subjects not know when you are shooting, which can be helpful on the street. The silent shutter does not work well in low light scenes where fluorescent lights are at play, due to interference/banding effects due to the frequency of light interacting with the frequency of the electronic shutter.

5. Class leading shutter speeds: The other nice feature not spoken about regarding the shutter, is that it’s possible to shoot up through 1/8000 shutter speed, so in bright light, one can use very fast lenses for creating DOF without the need for a neutral density filter.

6. ISO: yup, it’s great. I have had no issues shooting through ISO 12,800 (though some detail and DR is lost at that ISO), and I have gotten usable shots through ISO 40,000+. I don’t typically push past ISO 40,000. I consider the A7s to be an “ISO-less” camera, in that I don’t consider ISO to be a limiting factor any more for my style of shooting. Paired with fast glass such as f/0.95- f/1.4, one can literally turn night scenes into day. Color fidelity appears to be preserved as ISO’s are pushed up, meaning that colors don’t get too muddy as ISO’s jump up into the stratosphere. That being said, the camera is just as good in normal light. What doesn’t get stressed enough is how good the camera is across its ISO range

7. Using the Voigtlander VM-E mount adapter with close focus opens up now possibilities with close focus and macro work with the M…this is MARVELOUS, for those of you who like to do macro. I am re-discovering macro in this manner. The adapter is pricey, costing around $300, but it’s worth it and allows standard and close focus use in a cleverly designed way. I have found that you have to be a tad careful about infinite focus, as the adapter seems to allow telephoto lenses such as the 90 summicron to focus just a smidge past infinite.

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8. Autofocus: The camera focuses much better in low light, but the change is not really revelatory. I have the 55 FE lens, which I enjoy, but don’t use much ,as I can manually focus faster in low light (or really in all light). The 35 FE is supposedly a lot better, but I don’t own it at this time.

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All in all, I have found the A7s to be a revelatory camera. The combination of camera design (flip up LCD, EVF, M mount capacity, silent shutter, ISO performance, close focus with VM-E adapter) allows me to be creative and to shoot discretely in ways that were not possible before. Is it perfect? By no means…here are some things that could get better.

1. EVF: Solid, but there’s room for improvement (higher resolution, faster refresh rate), particularly when using focus magnification and focus peaking in concert. Now that Zeiss is producing Manual Focus E mount lenses, I am hoping that Sony incorporates more design elements into future E mount bodies to maximize the utility of manual focus lenses

2. Megapixels. For me, the 18 megapixel range (m9, M Monochrom) is a sweet spot, balancing quality of pixels and size of files. I would hope that future A8s or whatever they are called will increase MP counts without compromising ISO performance or M Mount lens compatibility.

3. M mount lenses. As mentioned, they work great on this body…really! But put the 28 Summicron on the body, and you’ll see there’s room for improvement. Hopefully Sony will recognize that these bodies could really stand to use smaller lenses, in which optical elements lie closer to the sensor, and design sensors that accomodate smaller lens design (i.e. rangefinder/retrofocus lenses)

4.Camera haptics. Sony cameras don’t quite have the joy of handling as do other manufacturers (i.e. Fuji, Leica), and simple tweaks to camera button layout, grip, viewfinder placement, and menu structure could go a long way to making the cameras joyful to use for more people. I have many friends who love the quality of Sony files, but don’t really like how the cameras operate.

Okay, hopefully that “mini” review of my present thoughts helps some who are considering taking the plunge. I have zero desire to upgrade or change cameras, because the A7s is an outstanding photographic tool as is and does so much.

All the best,
Ashwin

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