Jul 312015
 

Think Tank Photo introduces new “FLAIR” kits for your Roller bag!

Make sure you have the required amount of FLAIR for your Think Tank roller!

Customize your Think Tank Photo Roller with your choice red, green, orange, or blue wheels, zipper pulls and padded handle wrap. Make your bag stand out or match your favorite colors. Each Roller Flair kit includes the following color-matched items: two wheels; 10 Easy Grip Zipper Pulls; one padded Handle Wrap; and, the Installation Guide. Think Tank is known for having the best wheels. They use a custom rubber compound for smooth, quiet rolling while also putting an emphasis on longevity. Think Tank only uses ABEC-5 sealed bearings to ensure smooth rolling even after years of hard use. Free shipping on all orders!

See details and options HERE!

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Jul 272015
 
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New Video Monday! JB Designs Grip and Headphones!

By Steve Huff

Hey guys! Today I posted two new videos to my YouTube channel which can be seen below.

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One is on the JB Designs grip for  the E-M5 II and I think it is gorgeous. It is a hand-made in the USA wooden base/grip with access to the battery door and all. Perfect fit and style for this camera, and in use it feels amazing. You can browse all of the JB Grips HERE.

See the video…

Also, I did a video on some new Headphones I have been using and testing, and I love BOTH of them…the Master & Dynamic MH40 and the Blue MOFI’s. Check out what I had to say about them in the video below:

Master and Dynamic MH40: AMAZON

Blue MOFI: Amazon

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Remember to go to my YouTube channel and SUBSCRIBE! ALL NEXT WEEK I will be posting videos from the new Sony A7R..in hand, in action and all kinds of cool stuff. These videos will be uploaded to my YouTube before they make it here, so be sure to subscribe to see them 1st!

See my YouTube channel HERE. 

Jul 232015
 

QUICK SHOT: Nocticron and Olympus E-M1

By Dave MacAaron

(From Steve: This “Quick Shot” will be a new series much like the daily inspiration but with ONE SHOT only. If you have ONE SHOT that you absolutely love, send it to me with a description of the shot, what you used to take the image and why you like it. I may post it as a “Quick Shot”! Send to me at [email protected])

Hi Steve!

Longtime fan here. Love all the reviews and articles and shares on your site. I was walking home with my daughter one night last winter in Hell’s Kitchen, NYC and it was twilight. I was snapping away at a few things here and there and then we came upon this tree with Christmas lights still up. The lighting was beautiful so I snapped the kid. It’s one of my fave moments and shots.

Taken with the Olympus EM1 and the Panny Leica 42.5 mm f1.4 Nocticron.

Thanks for all the great work! Peace!

lights hood

Dave MacAaron

www.franbro.com

Jul 212015
 

Moment, Chaos and a Personal Perspective

By Shaul Naschitz

Hi Brandon and Steve,

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

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

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

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

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

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

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

Shaul Naschitz

Jul 212015
 

Winning 1st Place in The World’s Largest Photo Competition!

By Andrew Suryono

Hello Readers, My name is Andrew Suryono. I won 1st place in this year’s Sony World Photography Award, Indonesia National Award. Below is my winning photo, “Orangutan in The Rain.”

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This year 173,444 images was submitted from 171 countries, making Sony’s photography contest the largest in the world. Winning 1st place in this competition means a lot to me. Not only because this is the largest photo competition in the world, but also this is my first ever international award. I’m an avid reader of Steve’s site. I sent an email to Steve asking his permission to share my experience from winning the competition with you and he replied to me with a resounding YES in less than 5 minutes.

I’m super excited to share my experience with you here. Here we go! I’m sure many of you already have a question in mind: “What’s the prize of winning this competition, Andrew?” Did I read your mind correctly? :) Sony gave me a Sony A7s, a Carl Zeiss 24-70mm lens and a flight ticket to London (return). They also took care of my hotel accommodation, meals and transport during my 5 days stay in London. During this trip, Sony organized a photography tour where I can try all kinds of Sony’s new camera and lenses. I tried the Carl Zeiss 35mm f/1.4 lens, the Sony 28mm f/2 lens and the Sony 90mm Macro lens. Sony also did a photo exhibition to showcase of all the winners’ photos and finally end it glamorously with a gala dinner for the awarding ceremony. Here’s a picture of me holding the trophy during the Gala Dinner ceremony.

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On top of all that, I got tons of publication requests. My winning photo was featured in big sites such as CNN, National Geographic, Huffington Post, Daily Mail, The Telegraph and many more. I view photography as my hobby and I never thought I could make it this far. Hopefully my winning photo and achievement can inspire you or at least light up your day!

Until then, take care! If you want to learn more about me, feel free to visit me at: My Blog: www.photoseis.com My Photo Gallery: photoseis.smugmug.com

Jul 082015
 

The crazy colorful world of the LOMO LC-A Art lens

by Huss Hardan

Hello Huffsters!

Brad Husick wrote a nice initial impression piece on the new LOMO LC-A Art lens. A pancake lens, rangefinder coupled for M mount cameras. Which also means that with adapters it can be used on almost anything.

It’s the cheapest, new with full warranty (2 years) M lens currently available. The parts come from Russia (nothing like your Nikon D610), and the bits are assembled in China (just like your Nikon D610).

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Anyway, enough of the small talk. What’s it like? Well….it’s meant for use on film cameras which is what I really bought it for – to use on a Leica MDa (a Leica M4 without a rangefinder or viewfinder). So on a digital Leica like my M it will smear in the corners just like any wide-angle non Leica manufactured lens (think most Cosina Voigtlanders). It will give wild colour casts and deep saturations. It will give sharp results in the center, not so much away from it. It will give some hefty barrel distortion.

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Much of this – the colour casts, the distortion – can be fixed post. But that defeats the purpose of this lens, as if you are going to do that you will just be left with a mediocre boring lens. Instead of a mediocre interesting lens!

It is the flaws that what make it, and so should be embraced. Otherwise shop elsewhere.

Of note: In the images here I did not boost colour saturation. This is what the lens does. I also noticed that I had to increase exposure by one stop in auto mode on the M.

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All images were taken the day I got the lens, down the street from my gallery – www.huzgalleries.com – in San Pedro, CA. Come visit us, it’s lovely!

Peace out

Huss

Jul 032015
 
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The Lomography LC-A Art lens, 1st Look

by Brad Husick

Today I got a surprise in the mail… the new Lomography LC-A Art lens that I pre-ordered several months ago. For those unfamiliar, here’s a link:

http://shop.lomography.com/us/lenses/minitar-1

And the features:

Focal Length: 32mm
Aperture: f/2.8 – f/22
Lens Mount: Leica M-mount
M-mount Frame Line Triggering: 35/135
M-mount Rangefinder Coupling: Yes
Closest Focusing Distance: 0.8m
Filter Thread Measurement: M22.5×0.5
Construction: Multi-coated lens, 5 elements 4 groups
Premium Russian Glass Optics
ultra-compact pancake design
4-step zone focusing system
Aluminium & Brass Body

PRICE: $349

When they say ultra-compact, they mean it. It makes even the MS Optical lenses from Japan look large by comparison. Take a look how small this lens is on my M Edition 60:

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This is not a review of the lens but simply a first-look. I took sample photos at ISO 200, focus set at infinity, at f/2.8, 4, 5.6, 8, 11, 16 and 22. The apertures are approximate because there are no click stops; you just look at the lens and set the lever. Oddly, the focus has click stops, but it is rangefinder coupled so you can actually focus through the viewfinder. Here are the photos:

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It’s no Leica lens by any stretch, but it’s not intended to be one. It’s supposed to give you that “classic” Lomo look – strange, blurred edges, odd colors, etc. It’s like using digital filters on your cameraphone app but in this case actually taking the original picture that way. I didn’t see a need to include 100% crops here :)

It’s supposed to be fun, and I look forward to taking it out and giving it some exercise.

Brad Husick

 

UPDATE – NEW IMAGES from Brad:

Here are some photographs taken with the LC-A lens on an M edition 60 to give you a better sense of the creative nature of the lens. I left these full frame so you’d see the edge effects. This particular lens has a decentered focusing glitch that leaves the right side of the frame completely out of focus. It will be going back to Lomo. As some others have mentioned, it’s VERY difficult to mount and unmount. Aside from minor exposure adjustments, I have applied no filters or other effects to the images – these are straight from the camera. It’s certainly the most compact lens ever offered for the Leica M, I am just not sure it will earn a place in my kit.

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Jul 012015
 
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Crazy Comparison! Zeiss Batis 85 f/1.8 vs Mitakon Speedmaster 85 1.2!

So check this out guys…

The Zeiss Batis 25 and 85 lenses for Sony FE mount have arrived for testing and they are BEAUTIFUL. I will not tell a lie, the 25 is the one I adore the most so far as it’s size is nice. FAT but short and squat. Looks fantastic on the Sony A7II. The 85 is a tad larger but still not so bad, much more manageable than I expected.

I am SO excited that Zeiss has not only released the fine LOXIA lenses for Sony but now we have the Batis line, which is an AF line of lenses for Sony FE (A7 series). There are so many fine lenses for the Sony A7 system these days and with the new A7RII on the way, look out..these Zeiss lenses may be just what the Dr. Ordered! THEY ARE FANTASTIC and I have only had them a day.

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Many have asked me to do a side by side “Crazy Comparison” between the Batis 85 1.8 and the Speedmaster 85 1.2 I recently reviewed (see that HERE)  – and while I assumed it would be a test showing the clear superiority of the Zeiss, well, it does but the Speedmaster hangs in there fairly well!

The Zeiss of course is a Zeiss. It is Auto Focus (and speedy on my A7II), it is shorter, smaller and MUCH lighter than the Mitakon, but for IQ..take a look:

CLICK IMAGES for larger and MUCH better versions. You will not see these as they were intended unless you click on them!

1st one, the Zeiss 85 at f/1.8 (thought I set it to f/2 but was wide open). The color has that Zeiss POP over the Mitakon but sharpness, not really any better here. Color and Pop goes to Zeiss though for sure.

ALL SHOTS ON THIS PAGE ARE WITH THE SONY A7II

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More that shows the COLOR pop of the Batis 85. Again, the Batis was at 1.8 as I thought I had it set to f/2, so the image is mislabeled. Still, you can see the crispness, and 3D color pop of the Zeiss here. Even so, the Mitakon is holding its own though the color is muted as is the contrast.

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The Zeiss is a fantastic lens and I only shot with it for a day so far. Love the digital focus display, love the size and feel and look. The AF is fast and accurate and my full review of both should be up within 10 days or so.

Here are a few more from the 25 and 85..

OOC JPEG with the 25 at f/2 – click it for larger

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OOC JPEG with the 25 at f/2

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Zeiss 25 f/2 from RAW with Alien Skin slide filter applied,  A7II

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Zeiss 85 Batis with crop

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The color, detail and rendering of the 85 is GORGEOUS. 

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ORDER THE ZEISS BATIS LENSES!

You can order the Zeiss Batis lenses from B&H Photo HERE or PopFlash.com HERE. Full review soon with video and LOADS of samples!

 

Jun 222015
 
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The Leica Q…in Review

By Ashwin Rao

Buy/Order the Q from Ken Hansen, PopFlash.com, or B&H Photo. 
Let me just start by saying that the Leica Q is one of the most engaging, inspiring cameras that I have owned to date. I would also suggest that it is this decade’s version of the legendary Digilux-2…read more below to understand why….

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If that’s all that you take away from the review, that’s great. An educator once told me that you should say what you are about to say, then say it, and finish by saying what you jyst said. With this article, I intend to proceed as such. The Leica Q is a great camera… Even at it’s price. Even though it’s not a rangefinder. Even though it’s unlikely to be a Leica through and through. It’s capable of harnessing one’s spirit, capturing the decisive moment, and challenging the photographer all at once, all in the most facile of ways. See there you go, I have gone and said it again, in a slightly different way. Okay, now getting that out of the way, let’s dig deeper.

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Hello, my friends and photographers. By now, many of you have read the glowing reviews that came alongside the announcement of the Leica Q. Such luminaries as Steve himself, Jono Slack, Ming Thien, Sean Ried, Michael Reichmann, and others deconstruct, reconstruct, and then deconstruct the camera again. I am not here to re-hash this territory, other than to say that I agree with much, if not all, of what these reviews have said in their uniform praise of the Q. I am here to give you my own impressions and take on the camera, it’s build, its DNA, it’s capacities as a tool for photography, and it’s operation, and I have now had the chance to spend a bit more time with the camera, having been one of the first lucky few to have received my camera from the Leica Store Bellevue.

For those of you who have not read the reviews, here’s the low down. The Leica Q is a fixed-lens autofocus, Leica M-styled camera that’s not an M camera at all. It’s built to an incredibly high standard and sports a 24 MP full frame sensor and a fast 28 mm f/1.7 Aspherical Summilux Lens. It sports an industry leading 3.7 megapixel non-OLED EVF with a solid refresh rate (read not many shuddering images while moving the camera through the scene) and a design that allows for easy use even with glasses on (thanks for thinking of us old folks wearing glasses, Leica). It’s not weather sealed. It has a mechanical leaf shutter that moves from 1+ sec through 1/2000 sec, after which an electronic shutter kicks in, capable of achieving shutter speeds as high as 1/16,000 sec (thus, there is zero issue with shooting wide open in the brightest of daylight settings). The leaf shutter is nearly silent in and of itself, and the camera is thus very operationally discrete, while obviating issues such as shutter shake. There’s no built in flash, but this can be added via hot shoe. It records video, for those who care about video (I don’t). It’s layout is very simple. 5 buttons to the left of the screen, and a click wheel to the right. There are only 2 other dials up top, one for shutter speed and one to adjust exposure compensation, which is not marked. There’s the On-off toggle switch, which houses the shutter release. Oh yes, that video button (I don’t use it, unless I inadvertently push it). The awesome 28 mm f/1.7 Summilux lens has a very “M-lens” like feel, with a hood that echoes the most recent Summarit line. The hood screws on, once you remove the included protective retainer ring. The focusing tab on the ring allows you to easily focus manual, as the lens has a nice, shot focus throw, but also readily clicks into full AF mode by turning the barrel fully counter clockwise until it clicks into place. There’s a macro ring, that can be turned to enable a lovely macro option, that allows focus between 0.17 and 0.13 meters, while the standard non-macro setting focuses between 0.3 meters and infinity. The menu system is very clean and simply laid out, more so than even the current generation of M digital cameras. The screen is a touch screen, and one can use finger touch to set focus if desired. In image review mode, images can be swiped or pinched to allow for zooming or image review. Finally, there’s a small unmarked button on the back of the camera just below the shutter speed dial, that allows you to enable 35 mm of 50 mm “frame lines”, basically a digital crop for those who wish to use the camera at “other focal lengths”.

These are details that most of you already know, but I wanted to summarize it all in one place. With that summary out of the way, let’s dig deeper.

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Colors

The Leica Q offers a moderately different color palette than either the Leica M240 or the M9 before it. Leica has not announced from whom the sensor comes from. I have my theories, and will get to that later in the article, but suffice it to say that colors are punchy even for out-of-camera DNG files. Unlike the muted palette of the M9 and M8, there’s a lot more color pop up front from the Q, which can take some adjustment. However, once you get adjusted, what you are left with is a camera that produces some of the best colors seen in Leica land.

I struggled mightily with skin tones and colors when attempting to use the M240 during my brief sojourn with that camera. Suffice to say, I was quite concerned about a “repeat performance” with the Q, but thankfully, this is not the case. For those of you who enjoy the M240’s color palette, prepare for a different experience. Same goes for you who preferred the M9 color palette. However, I must say that many of us M shooters who enjoyed the M9’s color palette may be quite pleased by what the Q offers.

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At times, skin tones can drift towards an “orange” bias, but this is easy to fix in Lightroom or other similar applications when encountered. Fact of the matter is that most of the time, colors coming out of the camera properly represent the color palette of the scene. The camera is nicely transparent in this ways. Auto white balance does great outdoors, slightly less so indoors, but this too is easily correctible during editing, and truth be told, most of the time, colors under incandescent or fluorescent light are appropriate.

All in all, the camera performs very well in this department.

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ISO performance

Let’s get this out of the way. This camera is middle-of-the-road for full frame ISO performance. It’s totally adequate and appropriate in the ISO department through ISO 6400, but once ISO 12,500 is reached, things can get a bit iffy, particularly if processing heavily. If properly exposed, you get a very useable file through 12,500, but in general, I would hesitate going any higher, due to noticeable horizontal banding that is encountered within shadows. But with a fast lens attached at f/1.7, I rarely felt challenged by any low light limitation. While the Q is no Sony A7s, it stands up quite well to the Sony A7 and other cameras considered to be low-light stars or keepers of the night.

 

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Image quality

The image quality coming from the Leica Q is astounding. The 28 mm Summilux is capable of achieving incredible detail, while producing a pleasant, non-distracting, painterly out of focus. If I were rating bokeh, as I have in the past, the Q’s 28 mm Summilux rates as a 9/10. Images are nicely sharp, particularly in the center, at f/1.7, and by f/4, the images sharpen up from corner to corner. I suspect that the lens produces a slight curvature of field that contributes to softer edges on plane when shooting brick walls, but in real world application, this slight curvature of field may actually enhance subject isolation (for aspects of the image that are in focus) while creating a 3 dimensional effect, which can be very pleasing even for a lens this wide. Coupled with a fast open aperture, the whole image is rendered beautifully. While I will leave it to others to do ISO test and aperture comparisons, I will say that the Leica Q has simply never let me down in the image quality department. Coupled with the color performance of the sensor, the lack of an anti-aliasing (AA) filter, the Leica Q becomes a powerhouse, if judged only by the retina-searing quality of image that it produces.

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The 28 mm lens

did Leica use a 28 mm lens? For many, 28 mm is too wide. It is nearly impossible to get a portrait shot, and if you do, you’ll get a ton of distortion, and your subjects will be mad at you, unless you step back a few feet.

Leica states that the 28 mm lens was designed in-house with a goal of allowing those who chose to use the camera a great option for street and reportage photography. While I think some of this is marketing know-how, I do feel that the 28 mm lens may well have been chosen for a few other reasons. First, the camera’s implementation and design makes it clear to me that Leica’s positioning itself for both its base (aging shooters with progressive vision deterioration), alongside a younger customer base with money to spend), bringing the camera’s operational capacities into the 21st century, with amenities such as wifi, NFC, phone apps for teathering, and a touch screen. 28 mm is exciting to the Leica base, as a lens that offers great opportunities for street and reportage photography. 28 mm is a popular focal length particularly popular with many shooters who don’t even know it: cell phone shooters. The iPhone, for example, has historically employed a 28 mm equivalent lens. It’s a great option not only for street photos, but for selfies, for family outings, for gatherings with friends. It’s the focal length that’s social-media savvy, and Leica knows it.

Second, Leica is trying to establish a branding identity and a sense of novelty in the market. Never has a fixed full frame digital camera been released with a fast-wide lens such as the incredible 28 mm Summilux. Most people who have shot the Q or thought about the purchase wonder: why not 35 mm or 50 mm for the lens? Leica saw the success of the Sony RX1/R with it’s 35 mm f/2 Sonnar lens, and saw an opportunity to make something similar, yet slightly different, to separate it from Sony’s past offering to which the camera is most often compared, as well as to any future RX2, which is likely to come sporting some of Sony’s latest and greatest tech.

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The lens does include a separate ring for macro photography mode. One turn of the inner most ring into “MACRO” allows the camera to focus (manual or AF) between 0.17 m and 0.3 M. In fact, turning the ring procures a separate focusing scale, which is hidden from view when the camera is used in standard operation. This feature is incredibly handily when shooting near-field objects (think food photography). The implementation of the MACRO ring itself is one of the camera’s few weaknesses, as it’s a bit hard to turn the ring when desired. Maybe that’s by intention, but it feels that the ring could have been designed for smoother operational execution.

I also suspect that Leica introduced the 28 mm lens, as it may have been particularly adept at working with the sensor that they are using in the camera. I find it incredibly fascinating that Leica is choosing not to disclose the manufacturer of the sensor, but here again, I have my theory, so read on to find this out . Ultimately, I suspect that to some degree, lens and sensor were designed with one another in mind, and the performance of the lens-sensor combination in the Leica Q is astounding.

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In hand

I find that Leica Q’s haptics to be fantastic. I have been using the camera since day one with the accessory handgrip and attached loop. The grip and loop make the camera very easy to hold steadily, with confidence and no fear that it may slip out of hand. The Q itself is a slightly airy camera, clearly lighter than the M line, but with the added grip, there’s an addition of slight heft that gives the camera more confident feel. Without the grip, the camera is truly a bit slippery, and the thumb indent that Leica added is positioned to far to the far edge of the camera to permit comfortable hand holding. The grip fixes this issue. ‘’

The camera’s edges are nicely rounded, and unlike the Leica T, with it’s more angular build, the Q does not seem to cut into skin as much. The Q is substantially heftier than the T series and it’s girth and bulk will feel quite familiar to users of the M system. Some may raise concerns that it’s not nearly as compact as Sony’s RX1/R, but then again, I think Leica made the proper choice in proportioning the camera as a Leica M to attract its base of M camera users. To the Leica M shooter, the camera will feel “familiar” in hand.

I do wish Leica would use traditional vulcanite leatherette, as the pebbled texture of Vulcanite used for older M cameras truly enhances the photographer’s hold on the camera. The Q comes equipped with a grip that may be familiar to X camera owners. It’s not as tactile, and looks decidedly more modern. It’s a decent look, but one that could use refinement.

With the accessory grip added, the camera’s haptics feel more complete. It’s heft is pleasant. The grip firms up the hold on the camera.

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In operation

It’s at this point that I will begin to GUSH about the Leica Q. Leica (and Panasonic) did their homework on this camera, and it shows. The camera is truly a dream to operate. The menu system is well laid out, complementing the camera’s operational simplicity. In fact, this is a camera that one can pick up, figure out within a few minutes, and begin shooting happily. It produces RAW files in the DNG format, thus immediately portable into most photo editing applications (in my case, Adobe Lightroom)

Autofocus is fast and accurate. This has not been talked about in glowing detail, but deserves to be highlighted. In my experience, the Leica Q has the most responsive autofocus of any mirrorless camera that I have tried. Not only is AF responsive, but also focusing is accurate. The Q gives the photographer the brilliant option of setting the focus point anywhere on the screen, and this system works well when the photographer is permitted the time to set the focus point (be it center or off to the side). Once focus zone is set, the camera nails focus every time. For many of us whose eyesight wanes with each year, having a camera with accurate and responsive AF in the design/build of a M camera (yes, not an M, but it sure feels like one, doesn’t it?) is a marvelous thing.

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While most of us will use the camera in single-shot focus mode (AF-S), the camera is quite adept at tracking focus if using the AF-C mode. Whole it’s not a sports shooter, it can easily track faster moving children and nail focus. The camera can be set to single- or multi-shot modes, and can acquire up to 9 frames in a second using the high speed burst rate. I was suitably impressed while employing AF-C with a high burst rate, while capturing fast moving children on a slip-n-slide, for example, to feel that the continuous AF mode coupled with burst shooting would allow me to capture a “mobile” decisive moment opportunity .
Using the lens in the field is also great. One can easily click into autofocus mode if one chooses, but one can also use the manual focusing option by rotating the focus wheel out of the AF position, at which point the camera uses focus magnification and peaking to aid the photographer in achieving focus. Coupled with the camera’s magnificent 3.7 megapixel EVF, focusing is not challenging. Added to the mix is diopter control, allowing the operator of the camera to adjust the diopter to his/her liking.
Menu layout is clear, clean, and intuitive, and the LCD screen can be used in broad daylight without much difficulty. Some may sight that the camera does not possess an articulating LCD, but this stands against Leica’s simplicity-is-utility design ethos, and I am fine with it. The less fiddly the camera, the better, in my opinion. With a clean user layout, and clean menu structure, operational simplicity, and very fast autofocus, what we are left with is a camera that is incredibly inspiring in operation. The Leica Q is a camera that simply does not get in the way of the photographer’s experience. I would say that the Leica Q’s operations enhance photographer’s user experience and motivates and inspires those who shoot it…to shoot it more. It’s that good. Really!

Crop Mode

I wanted to discuss crop mode briefly, as most simply cast this “feature” aside when discussing the camera. I belive that Leica considers the crop mode to be important, or else they would not have included a dedicated button to enable digital cropping. Implementation of the crop mode is fantastic. By clicking the button once, the EVF is “enhanced” by frame lines, thus producing a very rangefinder like experience. Shooting in 35 mm produces a 15 MP image, which is plenty sufficient to adjust in processing. Given that 28 mm and 35 mm are not that far apart, the camera can be used quite comfortably in 35 mm crop mode without much loss of feel.

Once cropped again, into 50 mm mode, things get a bit murkier. Now, the file produced is digitally cropped down to 7 MP. Editing becomes more of a chore, since less of the image is present to work with. Further, distortions present due to the 28 mm effective field of view are introduced, making portraiture in the 50 mm crop less than ideal.

I suspect that Leica envisions a certain group of photographers using the digital crop button to permit the camera to be used as a “Tri-Elmar” , but the compromises at play, while seeming acceptable at 35 mm, are less so at 50 mm.

All of that said, it’s nice to have a digital crop when operating the camera. Further, it’s nice to know that the camera has saved the full 28 mm field of view in the RAW file, so it’s easy to reclaim “lost data” in post processing if needed.

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Compared to the RX1

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Herein lies another question that comes up often, since the Leica Q was introduced. What’s Leica doing that Sony was not doing 2 years ago, when the RX1 was introduced and made its splash? Should I get the RX1 for it’s more desired 35 mm lens?

The choice of lens is a very personal. I would say that for those who don’t enjoy wide-angle photography and prefer 35 mm to 28, the Leica Q may not be an ideal companion. Further, the Q feels and is truly a bigger camera than the RX1, so if compactness is the ultimate goal, the RX1 achieves this better than the Q. Finally, image quality. The RX1/R produced and still produces brilliant files. This is no different today, and in fact, many, myself included, consider the Sony RX1 to be a modern legend in digital photography. Is the Q better? In a word: YES.

The fact of the matter is that the Q does so many things better than the RX1/R that the comparison is somewhat silly. The Q sports a built in EVF, which allows the camera to be used more like a traditional camera. Autofocus and operational implementation is far superior. The Q features a far more intuitive layout, with a less-is-more approach. While the RX1 is more compact, the Q feels fantastic in hand and retains enough compactness that it will fit in many of the same outfits for which the RX1 was purposed. Certainly, Sony’s RX2 (you know it’s coming) will feature a new degree of compactness, but Sony have never been known to design a camera for those who value simplicity and intention of use. Some complain that Sony cameras feel like computers. I don’t feel strongly, in this regard, but I will say that the Leica Q feels convincingly like a camera designed by and for photographers who appreciate simplicity of design. With the Leica Q, all of the key controls are readily accessible, while the rest are found easily in the camera’s sub menus.

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Compared to the Ricoh GR

Ricoh produced the pocket dynamite Ricoh GR 2 years ago, and it’s truly held up to the test of time as a camera that many street and documentary photographers carry in the pocket. Like the Q, the Ricoh GR sports a 28 mm equivalent lens, albeit on a APS-C size sensor.

The Ricoh GR has been one of my favorite cameras, and it’s a camera that I have had by my side for 2 years. It’s a dramatically different camera than the Q, as it is much smaller and is truly pocketable. Thus, the Leica Q will not replace or supplant the GR for my purposes. It’s form factor is just too different.

I would say that the GR’s file quality is more clinical, with better edge-to-edge sharpness wide open than the Leica Q demonstrates even when stopped to f/2.8. However, the Q offers a full frame sensor, Leica’s operational simplicity and haptics, and a fast/remarkable lens.

Both cameras are great. Choose the one that fits your needs the best. I chose both.

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Panasonic collaboration

Here’s the topic that no one’s really gotten into, and I wanted to shake a few trees and see what leaves fall down…Bottom line.: think it’s too much to say that Leica designed and implemented this most of this camera on their own. While the camera proudly reads “Leica Camera Wetzlar Germany” above the rear LCD, it does not clearly state “Made in Germany by Leica”, now does it? Nor does it say Leica Camera AG Germany. I say all this while laughing a bit, because none of it matters, other than in branding efforts. If you are reading this article, would you rather be buying a Leica or a Panasonic camera? I know where I’d fall in this regard
If one looks closely, the Leica Q has Panasonic’s fingerprints all over it. From implementation of the touch screen, to the wifi implementation, to the use of a Panasonic battery (DMW-BLC12) that’s been used extensively for Panasonic’s FZ1000 and Leica’s V-Lux line, this camera “reeks” of Panasonic influence. Heck, it’s clear to me that Panasonic had a strong hand in designing the Leica Q’s autofocus system. It’s too good to be a Leica design of its own. Some have gone as far as to say that it maybe Panasonic through and through, including the Summilux lens with an interesting f/1.7 maximum aperture, which is rare for Leica lenses but a common choice for Panasonic-designed lenses. Oh yeah, then there’s that sensor, which Leica refuses to disclose it’s source of manufacture, other than to say that the sensor is not manufactured by CMOSIS or Sony…Well, Panasonic is another company who sits ideally positioned, through its relationship with Leica, to offer up a chip of this high regard. Might not the sensor be of Panasonic manufacture? These are all of my theories, but ultimately, I suspect that Panasonic had a strong hand in designing the camera’s innards. From the outside, the Leica Q is truly, thoroughly a Leica, just like the Pana-Leica Digilux 2 before it….

Thus for me, the Leica Q is this generation’s Digilux!

 

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I find the Leica Q to be a fascinating, thoroughly enjoyable camera, one that’s inspired new levels of creativity in me. I am truly fascinated by the camera and would easily say that it’s one of my favorite digital cameras of all time. It’s really a perfect, take everywhere companion. It’s incredibly well thought out, laid out, and implemented in a way to appeal to photographers who want their camera out of the way and photographers who want to grow into their photographer ever more. The Leica Q forces you to grow, and for that growth, you will be rewarded by fantastic images.

I hope that you have enjoyed the photos, all taken during my first week with the camera. For those of you who want to see more, follow this link to my flickr site:

https://www.flickr.com/photos/ashwinrao1/sets/72157654470404392
Enjoy the ride, and I will see you soon enough, just down the road, around the corner, Q in hand.

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Jun 212015
 
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More fun with the Leica Monochrom Typ 246

Hey guys! It’s Sunday, Father Day 2015 and I want to wish all dad’s out there a GREAT day. Today is a lazy day for me, so I am just chilling around the house but wanted to share a few snaps I shot last week while in Murphy’s CA with some friends. I had my Sony A7II with me as well as the new Leica Monochrom 246 and I was shooting it up to ISO 12,500 without any NR applied. Deep down in the darkness of the Moaning Caverns the Monochrom with Voigtlander 15 4.5 III did superb. Even with the slow aperture, the high ISO capability of the MM was able to take shots in very dark conditions, even though the images make it appear brighter than it really was.

So wishing you all a happy weekend, a happy Father’s day and just sharing some images from the Leica MM 246 for those still looking for samples from this beautiful camera.

CLICK IMAGES FOR LARGER AND BETTER VERSIONS! All were shot with the Voigtlander 15 f/4.5 VIII

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Jun 172015
 

Simone & My X-Pro 1

By Jermore Santos

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Hi Brandon & Steve,

Great site you have going on, this is just a little write up on my shoot with Simone and my X-Pro 1. I decided to leave my Canon 5D Mk III with my L Series zooms and strip back my photography, my awesome talent, Simone had complete trust in that the images that come out of the Fuji with the 35mm prime would be comparable and so we embarked on a little photographic endeavour. As I adjust the aperture ring around my 35mm f1.4 Fujinon the image darkens anticipating the coming break in the clouds, revealing a beautiful golden autumn sun. My ‘guestimation’ is spot on, thanks to the camera providing real time exposure in live view.

The most amazing realisation as a photographer is how the photons bounce off objects, be it landscape, lifestyle or product. To create contours by bending the light around your subjects while framing the image to reveal only what you want around your subject. Shooting with primes forces your creativity to go into overdrive as the forced perspective creates limited options for composition onto your frame, with the Fujinon 35mm f1.4, I get a similar angle of view to a full frame format 50mm, an angle that is so similar to our eyes that this is probably why the nifty fifty is the world’s most popular prime focal length. Speaking of the 50mm, last year in I went to Japan, I knew it would be an excellent opportunity to snag myself a beautiful little vintage Canon 50mm f1.4 FD lens in one of those awesome used photographic stores in Japan at a fraction of the cost of what I would have paid here in Sydney. I managed to score the more expensive f1.4 at the price of one would pay for an f1.8 here in Australia. The beautiful vintage FD lenses aren’t as sterile or tack sharp as today’s lenses and they bring a warmth and some organic nostalgia back to photography, I use a cheap FD to X Mount adapter to piece it all together from eBay and the results can make any photographer giggle with delight.

We ended up getting rained out but not before catching some beautiful sun shower shots, images that you hope to get when ideas get thrown around in pre-production.

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Jun 152015
 
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Shoot what you love!

By Price Wooldridge

Hi Steve and Brandon,

More and more I stop by your blog for a little daily inspiration. Today, I thought I’d add mine, shoot what you love!
I recently found a working trolley line in Dallas, Texas, utilizing old trolley cars on original tracks in the downtown area. Today, I just dropped by and asked if they’d mind me shooting in their trolley barn, and explained my love and fascination with trolleys and trains. Don’t ever be too bashful to step up and ask, “do you mind if I take a few pictures?”.
Hope the group will enjoy these, shot with a Nikon D5500, Tamron 17-50 f2.8 zoom, and posted in Nik Silver Efex Pro 2. As a side note, thought I always enjoy the challenge of shooting with a prime, I find when you step into a new, unfamiliar situation, a good walk around zoom really is most useful.

Hope you enjoy.

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Jun 042015
 
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SEEING RED! The Redhead Days Festival

by Ori Cohen

Hi Steve,

My name is Ori Cohen and I have been following your website for many years. I am an avid photographer, a computer science Phd student, and a graphic artist, but first and foremost I am a redhead, a redhead married to a redhead. As you well know redheads are usually singled out most of their lives and the and it may come as a surprise to everyone, but redheads share this unexplained bond; to a point where you walk down the street, lock eyes with another redhead and instantly there is some connection. You can probably guess why I married a redhead.

Once a year at the beginning of September there is a special weekend for all redheads. In the town of Breda, Holland, thousands of redheads from around the world gather in the redhead days festival. Our first time was two years ago, we went to the festival in order to see for once, how does it feel to be the same as everyone else around us. It is hard to explain the first shock of seeing so many people who kind of resemble you, and in many ways it is intoxicating. In the festival I had the opportunity to photograph a lot redheads; many became our friends and today we have a growing community of redheads on facebook. In fact, last year while travelling abroad, we randomly met a redhead that recognised us from the festival.

Photography wise, I like carrying as little gear as possible. I usually carry several small near-weightless primes. On our first visit I brought my trusty Sony A300 and a Minolta 50mm f/1.4, and on our second visit I had a Sony NEX-7 Sony 16mm\F2.8, Minolta 24mm f/2.8, 35mm f/2, Sigma 30mm f/1.4 and a Minolta 50mm f/1.4. For portraits on a crop sensor I tend to use 30mm, 35m, and 50mm as they allow me to shoot in situations when people are around me. For group shots, crowds, and In doors I used the 16mm or the 24mm, which allows me to get a better sense of the atmosphere in the room.

The festival holds several main events: the pub-crawl, the opening ceremony, and the gathering in the park. There is an atmosphere of friendliness all around, and I can shoot anyone without asking for permission. I usually just aim the camera at random people and they stop for me, for as long as I need.

The pub-crawl provides a wonderful opportunity to get to know new people and capture some of the conversations and playfulness that happens after dark when people are drinking A LOT of beer, and it’s also a wonderful opportunity to get to know new people from around the world.

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During the ceremony I try to find a spot on the balcony, which overlooks a crowd of several hundred redheads, while trying not to lose sight of my wife. I usually don’t need to worry about losing my wife in a crowd, but when everybody has the same hair color as her, I need to keep a watchful eye :). You will be surprise to learn that there are many types of “ginger” genes out there, not just for fair skinned people, even dark skinned people can get a reddish hue in their hair, as seen in some of my photos.

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Immediately after the ceremony, people walk slowly toward the park for the annual record-breaking count of redheads. Two years ago we even broke a Guinness world record. While crammed in one spot, it is a perfect opportunity to shoot portraits of people. My wife thinks that I only shoot pretty redhead girls, but I actually try to do as many portraits as possible (of everyone!).

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The festival is not only for redheads but also for their friends, anyone who wishes to participate can come, in fact the city is crawling with photographers and videographers from all around the world. Everyone is welcome!

Thank you for reading.

My facebook photography blog: https://www.facebook.com/oricohenphotography

May 192015
 
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Quick Photo Tip: Get to the level of your subject!

One thing I learned many years ago is that when taking a photo of someone or something, the image is usually better when taken at the level of your subject. The majority of you here know this, but some will not and it can greatly improve your photos. I see so may shots of parents who take photos of their children and the child is dead center of the frame, and shot from a high angle as the parents do not crouch down to get to the child’s level.

A quick way to improve those shots of your kids crouch down to their level and take the shot unless you are going for a unique angle. Getting closer and to the level of your subject will make the photo more interesting, intimate and will be more powerful most of the time. I remembered this yesterday when I was being lazy taking a picture of my dog Olive. I just pointed my camera down to her and snapped. Then I said to myself…”stop being lazy” and I crouched down to her level and snapped again. I much prefer the 2nd shot where I was to her level.

While  this is a pleasant image with great quality and snap, I am looking down to my subject. While I like this shot, I prefer the next one after I crouched down to her level. 

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Here we see more character in her face..her curiosity as to why I am in front of her with this black box in her face…it’s more personal and revealing I think. Works the same way with human subjects ;) 

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While I am not a guy who follows all the rules of photography (as I feel we should sometimes break the rules as this is how we can get out or ruts or even come up with an amazing shot) I do feel this one is a good one. Still, there may be some who prefer shot #1 to shot #2, which goes to show, we all are unique and like what we like ;)

Hope you are all having a great Tuesday! Later this week, the Sony 90 Macro lens review, A look at the Samsung NX1, a look at the Zeiss 35 1.4 ZM on the new Monochrom and much more!

May 192015
 
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Return to film: Spring flowers in San Francisco

By Dirk Dom

Hi!

The last two years I’ve been serious about black and white on film and I grew to enjoy grain very much. With my Hasselblad Xpan I shot Kodak Ektar and fuji Superia 400 and I immensely liked the results. My Olympus PEN digital camera is extremely good, but I got tired of color noise. Film grain is beautiful, digital color noise is ugly.

So when I went to san Francisco this easter, I had my Xpan, my canon F1 and my Olympus PEN with me. And, not to my surprise, I didn’t shoot a single digital shot.

I wanted a creamy and graphical look for my flowers. The cream comes from shooting with a Canon FD 85mm f/1.2, at f/1.2. The graphical part comes from Fuji Superia 800. I used a 3 stop ND filter all the time. I used extension tubes. I don’t think there is any modern camera system that allows this kind of shots with modern lenses. Digitally, the Sony A7 with Canon FD 85mm f/1.2 and extension tubes and a $30 adapter would do the job perfectly. But I shot at ground level a lot, you’d need to use the screen, then.

Today I got my negatives back and I’ve met my objectives. This was what I had in mind. Sharpness freaks will be disappointed: this is not about sharpness but about beauty and atmosphere.

Film is beautiful.

Enjoy!

California is in its fourth year of draught, so there weren’t many flowers. Still, I got nice shots.
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Pacifica. A lily.

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At the beach.

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Also near the beach.

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Poppy, Golden Gate Park.

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Golden Gate Park. Shot through a flower in the foreground, focused on a flower behind. With the Canon F1 speedfinder I can shoot right to ground level.

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Cherry tree.

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The 85mm sometimes gives rainbows.

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Beach near the Golden Gate: great diversity of flowers. Unfortunately, they were mowing the path when I got there. 

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Poppies at f/1.2.

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Grain. Love it!

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Bernal Hill, all the flowers were already gone.

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Bye,
Dirk.

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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