Jan 182014
 

Monochromatic with the Fuji X100

By Renan Luna

Like many others, I’m a hobbyist photographer and I visit your site daily. I have been shooting for at least 10 years, mostly part-time with my old – and now semi-retired – Canon Rebel XS. I love this camera, but its weight and size hardly go unnoticed by the subjects.

In São Paulo, where I live, the people are not so open-minded to be photographed. In fact, they hate it! So, I needed to upgrade my equipment or lose one shoot after another. I decided…the Fuji x100 looks nice to me!

The camera is amazing (the Steve wrote a great review of that). The grip, lenses, size and everything fit with my needs perfectly! I’m back to action days, sneaking in the shadows and hunting for the photos without being discovered.

I’m a color-blind person and monochromatic photos is true passion to me. And again, the Fuji x100 supports me very well in this case with some interesting options of film simulations, especially the black and white ones, that do not need a lot of processing to get images with the results that I want.

After I bought the x100, my style changed a little bit. The fixed lens of 23mm has no zoom of course, but yet it is so versatile you can shoot in open areas and in a living room without losing quality or details. It’s a unique experience!

My intention with this text is just to show that a good camera is just a tool, what counts is the person who controls it. I hope this will inspire someone to do something special!

Thank you for the opportunity to write.

Wishing you well and good photos for us all!

My contacts:

http://www.flickr.com/renanluna

http://www.facebook.com/renanlunas 

Thank you again,

Renan Luna

A cat in the dark

Alone in the dark

Boys on the docks

Buddies

Ciborg

Danger

Faith

From old times

In doubt on shop

Serenity

Spray and push

Looking the ocean

Jan 132014
 

Novice experience on the OMD-EM5 – Light, Easy, Versatile and Quick

By Jason McCosker

Dear Steve,

I thought I would share my thoughts on the existing gear and setup that I have come to love over the last 9 months. In fact all my gear and processing requirements have come from the real life experiences shared on STEVEHUFFPHOTO.COM.

In December 2012, I was fed up missing so many shots of my 4 and 2 yo with a point and shoot that had such limited control. So I looked out for a small manual system with options that could take me further. Following reviews particularly from this site and a love for the feel, weight, size, EVF and easy setup my decision was the Olympus OMD-EM5 that came with the 12-50mm kit lens.

A few months ago I picked up the 17mm 1.8 prime lens and at the same time your post on VSCO Film 04 came out and as it supported the OMD-EM5 I gave it a try.

I do not personally like the full grainy aspect or some orange skin of the VSCO however with the VSCO tool kit the desired needs to meet all taste can be achieved with 3 or 4 clicks. My desired needs are then resaved as a personal preset so my favourite VSCO combo’s are a one click processing scenario.

I share a few results from a novice perspective that I have managed to get from this setup across macro, kids, landscape and a street walk in the last couple of months. I know all GAS is in me with the release of the EM1 and A7Rr but this setup will last a my needs for some time and I would rather build my lens collection than cater for my GAS desires.

Each image has no planned setup, no specific lighting, is captured within 2-3 seconds of the moment and processed with 1-3 clicks in lightroom utilising VSCO (no more than a minute an image to import, utilise preset and save).

Cheers

JSM (Jason McCosker)

Image 1: Flaming Flower

12-50mm kit lens (macro), VSCO (Kodak E100G Vibrant / Sharpen ++)

OLYMPUS DIGITAL CAMERA

Although the 12-50mm lens is considered slow and big by many, for my needs it is a good all round lens in bright sunlight and of course those rainy days due to the weather seal. I did not utilise the macro mode for some time however it has nice detail and you can blur out edges if desired.

 

Image 2: Jumping High

Oly 17mm prime, VSCO (Fuji Fortio SP/Saturation – / Orange Skin Fix)

 OLYMPUS DIGITAL CAMERA

This was a first image test for the 17mm 1.8, I went out in bright sunlight with my 4yo son who was running, jumping, diving and climbing.

 

Image 3: The Web

Oly 17mm prime, VSCO (Fuji Provia 400k- / Orange Skin Fix)

OLYMPUS DIGITAL CAMERA

I don’t often get the little ones to pose for a shot as it will never happen unless they are stuck in a web.

 

Image 4: Surfer on the Lake

Oly 17mm prime, VSCO (Fuji Provia 100F++++ / Grain (None) / Sharpen +++)

 OLYMPUS DIGITAL CAMERA

Riding my bike, I noticed a surfer paddling across the lake. Quickly grabbing my OMD and not looking at anything but the scene which is a learner mistake. The camera was setup all wrong (F3.5), so not sharp throughout but shows what the camera and lens combo can achieve even in a dummies hands.

The next three was a street photography experiment involving a quick street walk with no more or less than 7 shots. The first aim was to see if I had the mindset of a street photographer to carry it out. The second aim was to capture the story of the walk and give some insight into the inner city and people of Newcastle – Australia in just a handful of clicks.

Image 5: Ooooh

Oly 17mm prime, VSCO (Agfa Scala 200++ / Shadow Save ++ / Grain (None))

 OLYMPUS DIGITAL CAMERA

Image 6: Lunch Break

17mm 1.8, VSCO (Agfa Scala 200+ / Contrast ++ / Grain (None))

 OLYMPUS DIGITAL CAMERA

Image 7: Lost

17mm 1.8, VSCO (Agfa Scala 200 / Contrast ++ / Grain (None) / Vignette 1)

 OLYMPUS DIGITAL CAMERA 

Jan 092014
 

maintitlefathers

A year with my father’s camera

by Antoine Ringeard-Tordjeman

Hi Steve, and fellow stevehuffphoto.com readers ! This site has been a great inspiration to me for a long time, especially the user-submitted pieces, so I thought I might share my own story. There was a Swiss watchmaker that had an ad saying you can never really own their timepieces, as you are merely borrowing them from your grandchildren. Some cameras are like that too!

My name is Antoine, I am 22 and I got really into photography about 2 years ago when I moved from France to China. I bought a $200 superzoom and I loved it dearly, it has given me great shots (great in my own eyes, admittedly). Still, it had its limitations and I moved on to a Fuji X100, that I still use today, as it is an amazing camera.

And then, on a holiday back home, I pointed at a box in a closet and my mom said “oh that’s your father’s camera, I don’t think I’ve seen him use it in 25 years !”. I opened it like it was a treasure chest, and I was not disappointed. Inside was a pristine 1975 Canon EF film SLR.

The camera was actually bought by my uncle for a small fortune in 1975 (adjusting for inflation, the kit with a 50mm 1.4 cost him close to €2400), when my father was still a teenager, and he must have gotten it from his brother a few years later.

It was Canon’s first try at a pro-level electro-mechanical camera: it has batteries that power the TTL metering, the shutter priority mode and the two slowest shutter speeds. The body is black enamel paint on brass, just gorgeous. Even though the batteries still had power left after 25 years in storage (!!!), I took them out and I use the EF as a fully mechanical camera, metering with the X100 or an iPhone app. It has never been serviced and runs like clockwork.

Moscow, Russia – Ilford Delta 400

picture2

Beijing, China – Kodak TMax 400

picture3

In the box were a 35-70mm 3.5 plastic zoom and a 135mm 3.5 tele, in FD mount. Upon returning to Beijing I quickly bought a mint 50mm 1.4 for a whopping $60 and haven’t taken it off the camera since. All the pictures in this article were taken with that lens.

Bokeh! in Beijing, China – Ilford HP5+

picture4

Fenghuang, China – Kodak Portra 400

picture5

I have been doing my own B&W processing since the first roll, it seemed like a fun thing to do (it is) and it’s cheaper. I also have a small darkroom now and I do wet prints. Most of the scans here were done by the Lomography store in Beijing. I’m not really into their aesthetic but as a lab they’re affordable, sell good B&W film (repackaged TMax 400 and Fomapan 100), do an OK job with the processing and the store assistant was really really knowledgeable and a genuine film lover.

Beijing, China – Ilford HP5+

picture6

Beijing, China – Kodak TMax 400

picture7

After I caught the film photography bug my GAS syndrome mutated. I was perfectly happy with my X100 and used it alongside the Canon, or by itself when I needed the high ISO and the possibility to miss half the shots without financial repercussion. While I completely stopped lusting after newer, better digital cameras, I became obsessed with film cameras, especially Soviet ones. I have since bought a Zorki rangefinder and a Flexaret TLR. Oh and a DIY plastic 35mm TLR, because of course I did, it was $12.

If the Sony A7R sold for $100, and I had $100, I’d buy a Moskva 5 :).

Moscow, Russia – Kodak Portra 400

picture8

Moscow, Russia – Kodak Portra 400

picture9

As for the photography itself, it’s still mostly snapshots. I try to go everywhere with a camera and shoot whatever looks good. I seem to always come back to night scenes of neon lights and dimly-lit bars. I have never been to NYC, so for me Beijing is the cuty that never sleeps.

Beijing, China – Kodak Portra 400

picture10

Beijing, China – Kodak Portra 400

picture11

This camera is now one of my most prized possessions, even though I’m not sure it’s technically mine.

The point of this rather lengthy article is not to say film has made me a better photographer – it probably hasn’t. I won’t argue that film photography is better in essence or in quality – it’s just different.

I get why people who started photography when film was the only option don’t miss it, it can be a hassle, especially if you’re shooting on a professional scale. And I can understand why people who are getting back into film are dismissed as hipsters. For me, at a time when every disposable gadget takes pictures, film retains that little bit of magic that keeps me excited about photography.

Unlike digital cameras, film cameras are not getting any more obsolete than they are now, most of them will still be perfectly capable of taking pictures 40 years from now. Hold on to yours, a well-loved film camera might go from garage sale junk to priceless heirloom just by being passed on to the next generation !

Beijing, China – Kodak TMax 400

picture12

Fenghuang, China – Kodak Portra 400

picture13

Beijing, China – Ilford HP5+

picture14

Beijing, China – Kodak Portra 400

picture15

 

Jan 042014
 

dragan

USER REPORT: 9 Photos, 9 Places, 9 Cameras

By Dragan Arrigler

Recently posted Paris photo by Gianmaria Veronese here reminded me of my own photograph I made from almost the same spot in March 1985. It was my 35 mm b&w film era and 16 years later, in 2001 I started to work with digital cameras. I would like to present a short user report and briefly describe the 9 cameras I used to make 9 very different photos of 9 different places from 1985 to 2013.

1. In 1985 I was a photojournalist and I always carried around a lot of cameras, lenses, etc. Still, my favorite combination was Canon F, 24 mm lens, and Kodak TRI X, while the vast array of other lenses and accessories in my bag waited there “just in case”. In those days I used 24 mm lens for almost everything – landscapes, cityscapes, portraits, etc. It gave me such a broad and dynamic view at the world around me. I preferred contrasty, grainy photos and as a rule my b&w films were slightly underexposed and slightly overdeveloped. I still have one Canon F from 1980. In has been regularly serviced (three times in 33 years) and it works like new.

eiffel_tower

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2. I made the picture of Pontevecchio in Florence in 2001 with Olympus Mju (Stylus) Zoom Wide 80 (I have always loved Olympus cameras for their size and weight). It was automatic 35 mm compact camera with 28-80 mm lens, considered very wide for late ’90, when it was designed. It had autofocus, small LCD frame counter and was waterproof. A perfect travel companion. The camera even displayed some sort of metadata, as can be seen on the lower right side of the photo. The kids on the picture didn’t seem to be interested in the magnificent renaissance architecture around them, and neither was I.

kiss_pontevecchio

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3. My first digital camera was Olympus E-20P, purchased in autumn 2001. Soon after that, in February 2002 I had to do a job on Bonaire, a amall island in the Dutch Caribbean. Digital photography being sort of unexplored territory at the time, I didn’t risk and packed my trusted analog cameras as well. Most of the work was indeed done on 35 mm color slides, but with my new toy I made some charming pictures, too. One of them was a photo of windsurfers in beautiful Jibe City on the eastern coast of the island, where constant trade winds and shallow turquoise Caribbean sea waters make ideal windsurfing spot. I sold E-20P the next year after purchasing my first Canon DSLR, but I still remember its perfect zoom lens 35-140mm f 2,0-2,4 with certain nostalgia.

OLYMPUS DIGITAL CAMERA

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4. Canon PowerShot S30 was a terrible camera by today’s standards, but was a precious pocket compact in 2003. I took it along on my trip to Provence that summer. It is fun and more or less safe to make photos with such a small and unobtrusive camera – without using flash, nobody takes you seriously, especially when you work in relatively dark interiors or at night. Café de Nuit in Arles, once beloved Vincent Van Gogh’s motif, was a perfect place to prove this. In postproduction, inspired by master’s paintings, I slightly exaggerated the colors, just like he did in 1888.

Café_de_Nuit

Café_by_Vincent

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5. I was presented Holga for my birthday in 2006. Yes, it is a rickety, cheap plastic Chinese camera. It leaks light, the lens is terrible (60 mm f 8,0 – somewhere between normal and wide-angle lens for 120 film) and it incorporates only one shutter speed which is not defined precisely – it’s probably around 1/60. And B, of course. Exposure demands a lot of guesswork. But it gives you the basic thrill of photography: you can never really tell what you will get. If the predictability of digital photography has begun to bore you, get a Holga. For best results use very old films, expired long ago. And there is more: you will never again feel the urge to invest in digital filters which imitate corny emulsions, cross processing, picture frames, over saturated or washed-out colors, vignetting, as well as dust & scratches. Nothing of this was applied to the photo of the romantic old house in Vrhnika, Slovenia.

house_Vrhnika-

6. Another Canon PowerShot, the A640 was used to photograph silhouettes in a small beach bar on Caribbean island Antigua in 2008. This camera had almost limitless autonomy, because it was powered by four AA batteries and I purchased it prior to a sailing trip where I didn’t expect to have any AC outlets at hand. AA are the most common batteries – you can buy them anywhere in the world. You just have to buy a large (and heavy) stock. Being so dependent on energy is digital cameras’ big disadvantage in comparison to analog ones. For instance, I replaced the battery of my 1980 Canon F maybe three or four times in more than 30 years.

bar_Antigua

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7. Yet, it’s a digital era and small cameras are so expendable. I only had the A640 two years and then I replaced it with the third Canon PowerShot, S90. It is even smaller than A640 and claimed to be better, a great third camera for professionals, with a lot of manual controls. But in terms of picture quality I never really saw a big difference – except that it has very usable wide aperture of f 2,0 at 28 mm (equivalent) zoom setting. The other side of zoom, 105 mm (equivalent) f 4,9 is much sadder story, though. Anyway, this camera was used to make the picture of the biker (luckily dressed in red) sweating uphill on endless winding road in literally and metaphorically breathtaking, exotic, hot, humid, Avatar-like island Reunion in Indian ocean. One final remark on this tiny device: it incorporates optical stabilizer, but being so small and light (just 175 g), it just can not match the stability of big and heavy DSLR cameras with big and heavy lenses.

biker_Reunion

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8. If you like red color, Denmark is one of the countries to travel to. Red is a dominant color in their flag and elsewhere. With a bit of luck and good weather you can make nice geometric pictures like I did in the small port of Struer in north-west part of the country. I used Canon EOS 5D, bought in 2005 (can you imagine that it has already been called “vintage”?) and good old zoom 24-85 mm f 3,5-4,5, designed in 1996. In spite of being almost ancient by today’s standards, it is still one of the best and most durable combinations if you want to travel light.

struer_denmark

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9. Finally, I would like to share some observations regarding Voigtländer Nokton 25 mm f 0,95. Read some tests of this product, e. g. here or here and let me just add this: it’s a fantastic toy, a sheer pleasure, but not in the least easy to use. And more than just a toy, of course. It’s solidly built, it’s big and heavy, heavier than my Olympus E-P3, including EVF and strap. Now just think: a heavy lens plus f 0,95 plus in-camera image stabilisation – a photographer with steady arm and some experience can work in almost total darkness without even having to use high ASA setting. The twilight picture of exotic Lisbon funicular was made handheld with 1/25 s at f 1,4 and ASA 320. And there is even more: it can focus down to approximately 8 centimetres or 3,15 inches which almost makes it a macro lens, too. Unfortunately, it has two drawbacks: manual focus and manual aperture ring. It is difficult to focus it in darkness owing to its extremely shallow depth of field (probably this problem will be solved with the newer cameras incorporating focus peaking). In bright daylight, where circumstances call for smaller f-stop, it’s even more complicated; remember, the aperture is manual and you have to focus at working f-stop. This is not easy even at f 4, and nearly impossible at f 8 or f 11. Of course, it’s 25 mm lens and everything in finder appears to be sharp. Not so later, when you critically observe your masterpiece at 100% magnification on the computer monitor. In short, this lens needs some patience and a lot of practice. If you have no patience or not enough time to practice, go and buy Panasonic’s 20 mm f 1,7 lens. It’s a very good solution, too.

OLYMPUS DIGITAL CAMERA

Conclusion: the point of this user report (and hopefully the pictures) is to inspire the readers to grab whatever camera they have, go out and do with it the best they can. There is absolutely no guarantee that they will make good photos with the best camera and the sharpest lens in the world. But there is a fair chance that their pictures will be widely admired even if they were made with cheap, plastic, outdated three megapixel devices. Just consider: would the photo of Café de Nuit be better, had it been photographed with a good, 36 megapixel camera, like Nikon D800E or even 60 megapixel Hasselblad H5D? Perhaps tehnically; it would be sharper, with more details, the resolution would be substantially bigger. But would it match the atmosphere of Van Gogh’s painting? I don’t think so. Sometimes the photos are about mood, not tehnical quality. Buy any camera, get used to it, then just forget it and focus on the pictures. To quote Don McCullin, the famous war photographer of the 1960s and 1970s: “I only use the camera like I use a toothbrush. It does the job.”

Dragan Arrigler

www.arrigler.com

Jan 032014
 
Puerto Rico, India, Family… 2013 & the Leica M240
By Bob Boyd

Hey Steve,

2013 was a very busy year for me. Lots of work. Lots of travel. We took a family trip to beautiful Puerto Rico in July (our first ever outside the states as a family) and then I had the opportunity to return to India this past fall to document some mission work in the field. I’ve shot both an M and an SLR for the last 5 years but for personal work, it’s almost always the M. I made the decision to jump to the M240 early – mainly because of the ISO limitations of the M9 – and was fortunate enough to get an early copy last spring through my longtime Leica dealer, Ken Hansen.

I thought I would share some of my favorite images from this past year with a brief description.

Here’s to a great 2014 for you and your site!

All the best,

Bob Boyd

www.bobboyd.net

A bay near El Morro, Puerto Rico. (Zeiss 21mm f/2.8)

Bay near El Morro, Puerto Rico

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Paths… (Left) a path of doorways at Fort El Morro and (right) Two brothers walk along the beach at sunset in, Puerto Rico. (50mm Lux ASPH)

Paths...

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Coast Guard boat at sunrise near the ferry for Culebra, Puerto Rico. (35mm Lux ASPH)

Coast Guard at sunrise

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Ocean play at sunset… Isle of Culebra, Puerto Rico (50mm Lux ASPH)

Ocean play at sunset...

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Graffitied Tank… The kids inspect an old rusted out tank on the beach in Culebra, Puerto Rico. (35mm Lux ASPH)

Graffitied tank

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Room with a View… Windows of a watchtower open to a beautiful scenic view in the Puerto Rican rainforest of El Yunque.  (Zeiss 21mm f/2.8)

7 2013-07-11 L1002032

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Fire in the sky… A firey sunset illuminates the post-rain mist on the mountainsides in Puerto Rico. (50mm Lux ASPH)

8 2013-07-13 L1002738

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Amritsar, India… A Sikh woman bows in the middle of tourists at the entrance of Harmandir Sahib – the “Golden Temple”. (50mm Lux ASPH)

9 2013-09-22 L1004024

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A Sikh man and his bike outside Harmandir Sahib in Amritsar. (50mm Lux ASPH)

A Sikh man and his bike outside Harmandir Sahib in Amritsar.

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A Sikh man in Amritsar, India (right) and a Christian woman in Punjab, India (left). (50mm Lux ASPH (l), 90mm Summarit/ISO6400 (r)

Common Differences...

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Indian Corridors… (Left) Golden sunset light pours into a market area in Amritsar, India. (Right) A mother walks her children to the village school bus stop.

(50mm Lux ASPH (l), 90mm Summarit (r))

Indian Corridors...

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A remote village area. Punjab, India (35mm Lux ASPH)

A remote village area. Punjab, India

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Two young boys playing in a village in Punjab, India.
(50mm Lux ASPH)

 14 2013-09-23 L1004304

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An elderly man in a remote village in Pujab, India. (50mm Lux ASPH)

An elderly man in a remote village in Pujab, India.
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Brick Factory A worker hauls new bricks at a brick factory in Punjab, India. (21mm Lux ASPH)

A worker hauls new bricks at a brick factory in Punjab, India.

Children playing with tire inner tubes along a dirt street in Punjab, India. (35mm Lux ASPH)

Children playing with tire inner tubes along a dirt street in Punjab, India.

A Mother’s love and pride on display as she holds her child. Punjab, India (21mm Lux ASPH)

Mother and child. Punjab, India

Two women rest on cots at a home in Punjab, India. (21mm Lux ASPH)

Two women rest on cots at a home in Punjab, India.

Village street scene. Punjab, India (35mm Lux ASPH)

Village street scene. Punjab, India

A woman prepares an evening meal in a small hut. Punjab, India (21mm Lux ASPH)

A woman prepares an evening meal in a small hut. Punjab, India

Market traffic… Punjab, India (21mm Lux ASPH)

Market traffic.  Punjab, India

I’ll end on one last personal image… My wife visiting her 88 year old grandmother who suffers from Alzheimer’s. (50mm Lux ASPH)

25 20131208 - L1005530

Dec 272013
 

Sao Paulo Street Portraits with the Nikon DF

by Alejandro Ilukewitsch

Dear Steve thanks for your wonderful site, to some of us who can’t actually test gear before buying is of an amazing help. I live currently in Brazil, and it’s not possible to go to a store to test all the wonderful equipment that is on the streets right now. I bought the RX1 mostly because of your review. I also recently acquired a DF, whose review came afterwards… J

I love shooting street portraits, specially wondering for hours on the streets and meeting strangers, having a talk with them and then politely asking them for a picture. Sao Paulo is a multicultural city full of a lovely mixture of people. You actually never know into what you might bump. Sadly as many other cities in South America has is toll of insecurity, but well, it’s a risk worth taking.

I have used many cameras, suffer from GAS, but think that with the DF and RX1 I am currently cover and cured for GAS, (don’t know for how long). I also have a D800 but for my enjoyment and street shooting the RX1 and DF are incredible fun! Specially the DF which reminds me so much of the X100, but without the lag.

Here are some of my street portraits in Sao Paulo I recently took with the DF, suing a voigtlander 40mm plus a 28mm 2.8 AIS. Thanks for looking!

If you are interested in seeing more portraits from Sao Paulo street please use the following link:

http://www.ilukewitsch.com/People-from-Sao-Paulo

Also here you can find my tumblr, only Sao Paulo pictures:

http://ailukewitsch.tumblr.com/

And my blog in which I post about everything I shoot.

http://ailukewitsch.wordpress.com/

 Nikon Df, sec (1/125), f/2.8, 28 mm, ISO 250, Exposure Bias 0 EV

image1

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Nikon Df, sec (1/125), f/2.8, 28 mm, ISO 180, Exposure Bias 0 EV

image2

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Nikon Df, sec (1/250), f/4.0, 40 mm, ISO 100, Exposure Bias 0 EV

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Nikon Df, sec (1/500), f/4.0, 40 mm, ISO 100, Exposure Bias -1/3 EV

image4 -

Nikon Df, sec (1/250), f/2.2, 40 mm, ISO 500, Exposure Bias -1/3 EV

image5

Dec 262013
 

rx1riotitle

The Sony RX1 goes to Rio De Janeiro

by Mash

Hi Steve,

Been following your site for a little over six months now and thanks to your reviews I picked up the Fuji X100s and the Sony RX1.

I originally had a Nikon D300s, and it had been sitting on my desk for over two years because it was just such a hassle to carry everything around. That’s when I started researching fixed lens Cameras and based on your review I picked up the Fuji X100s first and sold the entire Nikon D300s kit.

The Fuji X100s really was a delight to use. It definitely is much more intuitive to use then the Sony RX1. The only thing that bothered me about the Fuji files was I never found the images sharp enough, there was a softness to it that some people may prefer, but it never really tickled my fancy.

Couple of months later, I planned a trip to Rio and was trying to decide on to take the Fuji or buy the Sony RX1. After reading and re-reading your review of the RX1, I sold the Fuji and bought the Sony RX1.

The Sony RX1 costs a little over USD $3000 here, and having heard horror stories about muggings in Rio, I became paranoid of taking it with me.

So, as I was committed to the trip and didn’t have any other camera I did two things to ensure the safety of the Camera.

1. Took out a travel insurance policy that covers theft or loss.

2. I also took some artistic tape, and randomly taped over the camera and the logos. You can see in the image below (taken with iphone 5).

I had no idea if uglifying the camera would work, but when two random people I met on the trip commented, “Oh did you break your camera?”, appears to have had the desired effect I wanted.

It was my first time visiting Rio De Janeiro, so I really didn’t know what to expect. Nothing was really planned and I went with the flow. I was lucky enough to have run into a wide spectrum of shooting opportunities and challenges.

gaffed sony rx1

Sony RX1 in use

For all the shots below, I had the camera set to aperture priority and in most cases the aperture was set to F2. The only adjustments I would make to control the light was using the exposure dial, dialing it up and down as needed.

What I really loved about this simple setup was, it allowed me to focus on what I wanted to capture rather than trying to get a perfect shot every single time.

The camera was set to auto focus most cases, in some rare instances I used the manual focus option. I had programmed the AEL button to switch between auto and manual focus, and once used to it – became a breeze to change.

I shot everything in RAW and then edited everything in Lightroom 5.

I wanted to share some images to show you the breath of images captured and how beautiful and sharp the images are.

Ipanema Beach

The shooting conditions on the beach was bright sun light with a lot of movement.

ipanema 1

Ipanema 2

Churches and Chris the Redeemer

I love how beautiful the bokeh out of the camera is. This image was shot in almost dark church, with natural light pouring in 500 yards from the front doors.

church 1

A look at how the macro functions. Again, there was barely any light in the room.

church 2

The following image was shot about 500 feet away looking up at the painted windows. Using the multi zone focus moved the focus point down, to avoid the windows being washed out by too much light.

church 3

Sunday mass. The silent shutter sound didn’t alert anyone to the fact that I was taking photos.

church 4

Christ the Redeemer. I loved this photo opportunity. With the sun perfectly positioned on the palm of christ. I was shooting straight at the sun, and the clouds were recovered post processing. I was really impressed by the dynamic range of the RX1, to allow me to do that.church 5

Rio Pride Parade

To give you an idea of the color rendering range of the camera, I was lucky to have come across the Rio Pride Parade. I will let the images talk themselves, the only adjustment I made was to put up the vibrancy.

pride 1

pride 2

pride 3

pride 4

Teachers Demonstration

While visiting downtown Rio, ran across what was a teachers unions strike. Chose to render this in black and white in post processing.

I am not sure how people would have reacted if I was lugging around a huge DSLR. I would like to believe, people felt much less threatened thinking I am using a simple point and shoot.

teacher strike 1

teacher strike 2

teacher strike 3Favela Visit

This was the part of the visit I was most looking forward to. It was a foggy and rainy day, and parts of the favela were in complete darkness only lit by a small fluorescent light.

I used a simple umbrella to protect the camera and the camera was small enough to operate with my other free hand. Don’t think it would have been that easy with a larger DSLR.

The camera did hunt a few times, but nothing that was annoying or unbearable.

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Overall Impressions

Yes it may be over priced. It may have been foolish purchasing it a few weeks before the release of the Sony full frame A7. Saying all that, life is too short to live with regrets, and I am glad that the Sony Rx1 was beside me on this amazing trip to capture these beautiful moments.

I love the Sony Rx1. At no moment did I wish I had another camera, or wanted a faster focus or a different lens. It was a trusty companion by my side to take the photos the moment I wanted them.

I am already planning my next trip, and can’t wait to take the Sony RX1 along.

If you would like to see images from my brazil trip, pay a visit to my site

http://thisismash.com/street-art-brazil/

You will see more about the street art, the music, and more shots from the above themes.

Thank you Steve for letting me share this with your readers.

Mash

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

Hello to all! For the past 5+ years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and as many as 1500 at any one given moment. Because of this I need and use super fast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this FREE information that is provided on a daily basis. This is not a paid subscription site, so no money is exchanged for the information here.

To help out it is simple. 

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

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

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

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Dec 232013
 

My Fave Photobook buys of 2013

By Colin Steel – HIs website is HERE.

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Hey everyone, I was just looking at all of the end of year lists that are appearing of the 10 best, movies, songs, photos etc. and of course the many, many versions of the top photo books of the year by various critics. This got me to thinking of the photo books that I have personally bought this year and to be honest its been a bit hit and miss in terms of quality and alignment with the topics and visions that interest me. Having said that I have been lucky enough to acquire what I think are some simply extraordinary pieces of photography and I am personally a huge fan of the photo book as being the ultimate expression of the art. One thing that struck me about the critics that proposed these lists was that they probably hadn’t bought and paid for these books themselves and they all seemed to strive to be unusual or unique in some way. I guess that is the way of journalism and the search for originality. With that in mind I thought it would be a bit of fun to highlight my favourite recent purchases, photo books that I have bought with my own hard-earned. These are not in any order of significance or rating but the idea is simply to perhaps whet your appetites and give some insight into the books and why I personally like them. So settle down with a coffee and packet of your favourite biscuits.

First up then……

Ernesto Bazan

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I am lucky enough to own two personally signed books by Ernesto and they are prized possessions for a number of reasons including the wonderful memories they evoke of working, shooting and learning from Ernesto in Sicily and Brazil. The two books that I have are both from the fourteen year period that Ernesto spent in Cuba during the turbulent period when Russia was moving into Perestroika and economic aid to Cuba was largely cut off. Both books are of course crammed with Ernesto’s beautiful, poetic and lyrical photographs and it is obvious that this depth of work can only be created over a very long period of time by someone with the tenacity and skill to understand and express the people of Cuba and their environment. The books are different in that Al Campo, the study of the Cuban countryside and farmers, is in colour while the first book in the soon to be trilogy (the final book in preparation is very beautiful and shot on an Xpan) Bazan Cuba, is in black and white. Nevertheless the same sensitivity and outright beauty is apparent in both. Despite having a personal preference to shoot B&W I continually find myself returning to the colour Al Campo most and I love the mood, feel and warmth that book generates for me. I particularly like one of the most simple shots in the book of an old lady and some flowers. I find the photograph completely beguiling and timeless.

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Bazan Cuba on the other hand has a more documentary feel for me and despite the fact that many of the photographs are timeless and insightful, you can’t help but get a feeling of historical significance and I think it is a book that is going to become even more important with the passing of time. Many famous photographers have visited Cuba and tried to interpret it but in my opinion, only Ernesto through his integration (he also married a Cuban) really understood the people and place and for that reason his book is I think the definitive book on Cuba.

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Again, the book is classic Ernesto and filled with beautifully observed and sensitively shot images that combine to create a visually stimulating and thought-provoking document of Cuba.

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I think Bazan Cuba is coming towards the end of the first edition print run and is getting harder to find and more expensive. If you are looking for an absolutely classic photo book that will interest, inspire and educate you as a photographer then I would highly recommend either Bazan Cuba, or Al Campo, you won’t be disappointed and you will be buying something that will only become rarer and more valuable.

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Daido Moriyama

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Now for a complete change of tone and style and a quick look at a few Daido books. I find that Moriyama polarises photographic opinion and perhaps it’s not so trendy to like his work as it used to be. Personally I don’t care about trends and I find Daido’s work truly inspirational and own a large number of his books, many of which are signed. I wanted to mention three of his books here; the seminal 71 New York, Buenos Aries and Reflections and Refraction. The first two mentioned books are recent reprints and come in a very nice pulp paperback type form. These two books for me have to be looked at in their entirety and I find it pointless and almost meaningless to isolate individual images because the books seem to create a narrative, mood and sensation of walking along these streets beside Daido. They have rightly been likened to beat poems and I always think that is the best way to describe them, I find them vibrant, loose and energetic. I always make a point of re-reading 71 New York if I am setting off to visit a new city, it seems to create that ‘road trip’ feel.

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I think you are either going to love or hate Moriyama so if you are not familiar with his work have a look around first, there is no shortage of it on the web. If you find you like it then I think 71 New York is a great place to start and it would do no harm to look at where Daido got his inspirations for the book from, Midnight Cowboy, William Klein and James Baldwin.

Nikos Economopoulos

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Again, I consider myself very privileged to own a personally signed copy of Nikos’ classic Balkanlarda which I bought in Istanbul. Nikos, for me is an out-and-out artist, his eye for shape, structure and his bold compositions are a delight and like Ernesto’s books, I find this a highly educational as well as enjoyable piece of art. There are other parallels in that this book was composed over a considerable period with Nikos wandering around the Balkans in his camper van (which he still does incidentally as part of his workshop programme)

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I think any photographer that takes the time to study this book will come to marvel at the innovative framings and structures of Nikos photographs, following my meeting with him and the workshops I attended with him I felt an intense sense of liberation from the cliched concepts that I had previously understood to be required for ‘good’ photography and I can truly say that Nikos set me free to look at things in a more individual way.

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Jason Eskenazi

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Make no mistake, this small, unassuming little book is a thing of very great intelligence and beauty. Jason Eskenazi is not a name that jumps to mind for many photographers and I think that is only because he likes to keep a very low profile and happily just wander around taking the most incredible photographs. I do not exaggerate, there is not a single image in his Wonderland book that you could class as a filler or in any way mediocre, it’s that good. Some of you will be aware of the incredible story that Jason was a security guard at MOMA in New York and travelled many times to Russia to create his ‘fairy tale of the Soviet monolith’ which he structured around the classical folk tales, child gets lost, taken in by guardians who don’t really care about her and so on. I feel that I don’t want to spoil the enjoyment that anyone who reads this book will get by saying too much about it, read it and see for yourself.

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I can think of very few photographers that can compose a frame with the precision and insight that Eskenazi can. As with some of the other books shown here I see this as a paragon of intelligent photography and there is an enormous amount to be learnt not only from the photographs but in looking at the overall structural concept and strict editing that Jason has applied. Like some of the others in this short list, this is becoming harder to find and more expensive so if you see one, don’t hesitate to buy it.

Anders Petersen

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My ownership of this book and introduction to Anders Petersen’s photography was a lovely piece of good luck when a friend in Singapore who acts as the unofficial librarian for the Invisible Photographer Asia community asked if anyone was interested in Petersen’s ‘Soho’ so that we could share shipping. I decided to take a chance and this amazing book showed up a few weeks ago. It’s always so nice when something unexpected works out so well, the book turned out to be really cool and there is so much I like about it even down to the physical choice of materials, cover etc. very understated but high quality – just like the photography. I have bought a few books from Mack who published this book and I always find them to be exceptional in the presentation and quality department.

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Back to the photography and I guess that you could draw similarities in Petersen’s style with other photographers that I like, admire and try to learn from, in particular Moriyama and Sobol. Petersen’s book was a commission to shoot London’s Soho and he has done a damn fine job of capturing the sense of the place and its uniqueness. One thing that particularly struck me in many of the photos was how he captured eyes and to me its this feature of his work that takes the book beyond the ordinary. Personally I think its become very tiresome looking at harsh, flash lit ‘street photography’ but the way that Petersen and Sobol in particular use flash to create stark tones is really masterful and, as opposed to the mainstream approach which tends towards sensationalism, the flash and stark contrast enhances the mood and subject.

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Like Sobol, he also seems to have a knack (and the courage) to find and engage with extremely interesting subjects and it the blending of these fascinating subjects with the quirkiness of the Soho environment that makes the book a winner for me.

Takuma Nakahira

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Nakahira’s For a Language to Come, has been out of print for a while and become pretty expensive and hard to get. However Osiris have now republished this piece of photographic magic and I was lucky to get a copy. Like Moriyama, this book and Nakihira’s style will polarise photographers and I have a few friends who are much better photographers and more credible in this area than me who do not like this at all. That’s the beauty of human diversity, and I am sure there are many people who will not like or agree with other choices in here and that is a fantastic thing and, ultimately for me, one of the sources of creativity.

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I think its important to contextualise Nakahira as someone who was brought up in post war Japan and I think you see his thoughts on that in many of the photographs. Somehow he strikes into deep-rooted sensibilities inside me and I find the photographs universal and disturbing and scary and beautiful all at the same time. As with Moriyama, don’t buy this without having a look first to see if it aligns with your senses and ideas.

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Vanessa Winship

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This is a very, very special book and like some others in here it will easily stand the test of time and become more and more relevant as it ages. As I understand it Winship was the first woman to ever win the Cartier Bresson trust award (how can that be ???) and she used the modest amount of the award to fund some trips to America which she had always wanted to photograph. How easy would it have been to try to update Frank and do some kind of modern road trip work? Not Winship, ‘She Dances on Jackson’ is as original, sensitive and insightful a photography book as you are ever likely to come across. Again, it’s published by Mack and the prints inside are delicious in the way they pull you into the pages. I have no idea how you can create a book of this quality at a reasonable retail price, if you were to have all of these shots printed separately to this level of quality it would easily cost three or four times more than the entire book cost, amazing stuff.

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I read somewhere that she doesn’t like ‘shouty’ photographs and that is very clear in the subtle beauty of this work. The photographs are almost delicate and even the many portraits have that gentle, lyrical but always meaningful, sometimes disturbing look.

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I am convinced that we will be looking back in 10 years time at this book as an out-and-out photographic classic. Winship has in my opinion done something extraordinarily creative in here and it looks like the culmination of all of her years of experience and craft.

Roger Ballen

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I am at a bit of a loss here as to what to say about Ballen’s work that hasn’t been said before. This year however was my introduction to him and, although I own a few of his books ‘Shadow Chamber’ is my favourite. It has a rawness that has now left his more modern work and, like all of his work it is psychological in its nature and can be deeply disturbing and thought-provoking in equal measure. I really like the way Ballen constructs his frames and there is a lot to be learnt from his structuring and arrangement of elements and shapes.

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More than any photographer I can think of Ballen has a unique ability to tap into our deepest recesses and his photographs both disturb and fascinate me. Perhaps an acquired taste but well worth looking into if you want to see some completely original and creative work by an accomplished master.

Todd Hido

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Todd Hido seems to be very much in vogue just now but unlike many trends and styles that come and go I think the substance behind his work is enduring. His latest book is ‘Excerpts from Silver Meadows’ and is structured around his search for the home of his younger days. What sets Hido apart for me is his ability to create universal metaphors and evoke generic memories that most of us have, this is his genius.

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It takes enormous skill to blend different formats and mediums the way Hido does and there are not many photographers that could pull this off. It’s easy to be drawn in by the motel room female shots, and they have their part to play, but I personally find his lovely, through the windscreen landscape shots to be exceptional.

This is a large book and definitely benefits from the sense of scale but from a learning viewpoint its also worth considering his arrangements and sequencing, very powerful but accessible photography.

Peter Turnley

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As many of you will know, Peter is a world-renowned photojournalist and there is almost no major world event of the last twenty or thirty years that he has not shot. Peter and his twin brother David have been very much in the news recently due to the close relationship they shared with Nelson Mandela and they’re documenting of his release from prison and subsequent shaping of modern South Africa. Peter has lived and photographed in Paris for around forty years and this book is, as he says, is his ‘love letter to Paris.’

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I had a deep concern when I first saw this book coming out that it would be a bit twee and while Peter does get dangerously close a few times, I think the over-riding sense of love, sensuality and out-and-out joy in the photographs bring it home for me.

My own favourites in the book are the more subtle and in a way artistic shots as I get a sense that these were Peter’s therapy for the horror, conflict and desperate situations that he routinely photographed in his journalistic work.

In some ways this is a very different book from the others in here but I think that, like me, many people will appreciate how the delicacy of the photographic situations and Peter’s obvious love for Paris and people make this a very worthwhile addition to any photo book library.

Twentyfifteen

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Finally, something a little different and closer to home to finish with. I have been working and living in Singapore for over six years now and find it an exceptional place to live, and, as an added bonus, there is also a thriving photographic community. From that community twenty locally based photographers have gotten together to produce a set of books in commemoration of Singapore’s Golden Jubilee in 2015. The books are very innovative and high quality in their concept and design and each photographer seeks to show a unique aspect of Singapore from their perspective. There are currently only four published but their intent is to complete the entire series prior to the Jubilee events. Needless to say the photographers are very different in their style and approach and this is one of the things I enjoy about the series. I know that this is really of most interest to Singaporeans’ but if you are interested in the books have a look here to find out more:

http://twentyfifteen.sg

Also, if photography in Asia interests you there is no better place to find out what’s happening and see very original work than Invisible Photographer Asia

Well that’s it for this year folks, please take this article in the spirit it was intended. This is not a definitive ‘best of’ list, this is simply my favourites from the books that I have personally bought recently and, as such, I am sure there are many, many other great books that I have not yet seen or enjoyed. My intent here was to share, and hopefully some of you will like these choices and enjoy and learn from them in the way that I have.

Colin Steel Portfolio 2013

Colin

Dec 192013
 

Lost Angels

By Lee Jeffries

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I guess “Lost Angels was a “process” that started for me five years ago. I was in London to run the marathon and found myself wandering the streets with my camera the day before the race. I trained my long lens on a young homeless girl huddled in a sleeping bag from across the street. She noticed and began to shout at me in an objective manner. I was obviously very embarrassed and at the time two thoughts went through my head. Turn away and get out of the situation quickly. Or go over and talk to her. I chose the latter. Doing so changed my perception of how I wanted to approach photography. The photographs became of secondary importance. Making contact, stopping to chat and helping out where I could become much more significant. Loneliness goes hand in hand with homelessness and alleviating that for 20 minutes..or an hour…or sometimes for a few days then it’s that reaction, nearly always positive, that I take away from an encounter. The intimacy of my portraits are perhaps a testament to this.

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My images have become more like art. For that reason I never dilute them with “document” or “circumstance” unless it’s absolutely warranted. I try very hard to capture both an emotional element and supplement that with a metaphysical quality that grabs and holds the attention of the viewer. I like to allow all of that emotion to breathe inside the mind of those that “see” and allow them to make their own conclusions on the “reality” of the situation. There is enough packed into any one of my images to take the viewer on a journey. They are an exploration of humanity. It’s as much an exercise in self-examination as it is in photography. They carry a social message, a message of injustice and suffering. They are about faith. Love. Compassion.

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Cheers

Lee

You can check out Lee’s book “Lost Angels” at the link HERE. His 500px is HERE.

Dec 112013
 

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Around the World with the Sony Nex 7 and the Metabones Speedbooster

By James Vanderpool – His website is HERE, his Facebook is HERE

Hello all. I’ve been a fan of Steve’s site for a while, among others. I’ve always liked his real world reviews, and one thing that seems to not have many reviews in terms of photography is the speed booster from Metabones. (The vanilla way to get full frame in mirrorless!) I got the Nex 7 in about July of last year and had been using it almost weekly on photo trips. Though I was mostly pleased with the camera, there were a few things I was unhappy with like the low light performance and APS-C cropping of my all manual full frame lenses. When this adapter came out, I was extremely excited and purchased it almost immediately. Some things turned out like I expected, but there were a few surprises.

The very first time I used this adapter was shooting an event for a Roller Derby team. The adapter really came in handy that day, because the scrimmage was indoors and light was fading fast. I was able to get shots at much lower ISOs than I thought possible.

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One thing that did surprise me was the focusing. When I first got my adapter it couldn’t focus any lenses to infinity. Though I had read it about it online in EOS HD’s preview of the Metabones adapter, I hadn’t thought it would make it to the final product. This was really annoying, actually, as the farthest away I could focus was about 15 feet! (Which is why I’m almost stepping in on the action in all of my shots there, haha.)

The next day, I had the opportunity to be an assistant on a portrait shoot for the Derby team. The adapter really felt better suited for this sort of work. I could get in real close to get some amazing shots, and it worked wonders for isolating the subjects. You can see in two of my shots below that I also appreciated the extra space it gave me over a standard APS-C adapter.

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It took me a while to figure out how to properly adjust my adapter. To fix it: I had to 1) find tiny screwdrivers, 2) guess and test. Both steps took a few days, but number 2 was particularly difficult. The biggest problem was remembering that there wouldn’t be as much detail in landscapes (my testing method) as there would be in the standard adapter. When I remembered this, I checked my 35-70 zoom at 35mm with the standard adapter against my 50mm with the Metabones. They matched up, mostly. Since I don’t want to take up all Steve’s storage space, I won’t show all the photos I took but there are a few good examples of low light, landscapes, and street you should see. (Demonstrating speed, wide-angle, and ability to focus in an unstaged environment.)

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The next place I went to in my travels was Shanghai. Truthfully, I was only there for a 24 hour layover. But when I got an offer I proffered my wallet and went on a tour. (When was I going to be in Shanghai again?) I only took along my 50 1.4 for this trip. No tripods, no wider angled lenses. I had a lot of landscape shots, and a few street. I spent the most time (about two hours) in the Shanghai Pearl. When I got to the top I really wished for my tripod, but so it goes. Make do.

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I was able to stay in San Francisco for quite a while after I got back on account on free-living space. It is, to my mind, the perfect city for photography. You can walk anywhere and everywhere is beautiful, has character, and is full of history. I wish I could live there and photograph forever, but alas, it’s a pretty big investment to live there with no job already lined up. I’ll have to content myself with images for now and plan to visit again in the future.

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So by now you’ve seen the ISO, the shutter speed, and the lenses I use. I tried to keep ISO below 200 when possible, but I also tend to use my camera on shutter priority when not shooting landscapes. Before I get a bit deeper into the pros and cons of this adapter, I wanted to be sure you saw the pictures I shot with it. Though I may not be as talented as some of the posters on this site, I’d like to offer these as proof that yes, the Metabones does give your APS-C camera most of the characteristics of a full frame. Yes, you can take good pictures.

Now, for you detail oriented types.

Ergonomics

You know what my second favorite thing about this adapter’s ergonomics is? It’s small. With my 50 1.4 on the Nex 7, it’s barely larger than the 24 1.8 E-mount I started with. Considering that A) it gives a full frame field of view, and that B) on the Metabones adapter, it’s effectively f/1 in terms of light gathering (but not depth of field!) that is quite an incredible feat. Even my 35-70 3.4 is APS-C sized when you consider that it’s about an 24-50 f2.3 equivalent. Eat your heart out Sigma! (Only 17.6 oz, compared to the Sigma 18-35’s 28.8.)

My favorite thing about this adapter’s ergonomics is the tripod mount on the adapter. It is incredibly sturdy, so you can mount other accessories on an accessory. Madness! My personal favorite is my L-bracket from Really Right Stuff. Why not just mount it on the camera? Well, unless you have really expensive tripods you will always have a bit of drop between when you lock the camera into place on the tripod and when you let it go to take the pictures. This is especially a problem using the Nex 7 with my Contax lenses, as they’re often heavier than the camera. (I suppose with light enough lenses that wouldn’t be a problem, but then you wouldn’t be considering this article would you?) By attaching the camera to the tripod at the adapter instead of the camera, you change the center of gravity and make focusing much easier.

What bugs me, ergonomics-wise? Well, I can’t put my camera in the bag with the L-bracket attached. Time to bust out the Alan wrench!

Resolution

Now for the details! If you read the white paper, or the lens rentals blog post about the adapter you’ll know that resolution is better in the center with pretty much any lens. Also with any lens, it’s worse in the corners. Well, how bad? Have you noticed it?

At lower apertures, I wouldn’t focus anywhere near infinity. I’ve had a few photos I had to throw away because the corners were bad enough to distract from the image. However, this problem mostly clears itself up at higher apertures. Not entirely, but I don’t think you noticed and I certainly wouldn’t be afraid to print large. Here’s one last picture of San Francisco, followed by a ~90% crop at f/8.

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So, if you’re worried about corner softness just remember this: it’s only a few blades of grass.

Focusing

After the initial troubles with infinity, I found this was easier to focus on my Nex 7 than the standard Novoflex adapter due to the increased control over depth of field. In generous light, I don’t even need to use focus magnification to get critical focus. When the light isn’t so generous (admittedly 80% of the time) I still need to use focus magnification, but it’s a quicker process of getting in range before I activate my focus magnification function.

That being said, this will not make it easy to focus on fast-moving subjects like athletes, or even subjects just moving at street speed. It takes time, practice, and in the case of sports hundreds of exposures. (With the 50 1.4. My 100-300 4.5-5.6 was much easier to focus, but that is telephoto lenses, smaller apertures, and an APS-C depth of field.) Even though this allows you to use film lenses with most of their functions intact from 35mm it will not replace a split prism or rangefinder focusing system, let alone pro level phase detection autofocus. (For pro phase detect, think Canon 1 DX/C.)

Compatibility

My one true disappointment with this adapter was that it wasn’t compatible with all of my Contax lenses. My 100-300 4.5-5.6, a beautiful (if massive) lens had stabilizing metal flanges coming from the lens mount. Due to the glass elements of the Metabones adapter, this was impossible to mount. Other large lenses might run into the same problems.

Protection

Those same lens elements that stop me from mounting my 100-300 lens also protect my sensor from harm. A silver lining, indeed.

Well, in a little over 1500 words now I’ve told you everything I know how to tell you about my adapter, and a little bit about the travels I took it through. Feel free to ask me any questions about the adapter I didn’t already think to answer, or give me comments or criticism about some of my photos. I’m still learning.

Thanks for reading, and I hope you enjoyed the article!

Dec 062013
 

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USER REPORT: The Sony A7R and Voigtlander 35 1.2 by Gianmaria Veronese

I spent this weekend in Paris in company of the new Sony A7R and the Voigtlander 35mm 1.2. This article will therefore be a summary of the on-field-test of the new Sony A7R.

Before I get into the review I would like to make an introduction about what you will find in this article and what is not. Well, I tell you now that you will not find photos of walls or pencils to see how sharp the lens is or how much resolution the A7R has.  I can assure you that, with 36MPX and without AA filter, the limit on the size of your prints will be your walls and not the sensor. This article is designed to give you an idea of ​​how the camera behaves on the field and whether if it’s possible to leave your DSLR in favor of this Sony A7R.

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First let’s understand the ergonomic feeling and what are the differences from a traditional digital SLR. Well, the first thing that catches the eye and the touch is the size. It is really small (relative to the size of the sensor of course, FX 24 × 36 remember). The fact that it is small, however, has both the pro and cons.

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The pros are definitely weight, size and discretion. When you travel, you just need nothing except body, lenses and battery charger. Dedicated backpacks are just a distant memory. In addition, the smaller distance from sensor to bayonet, allows you to mount any lens in circulation (with an adapter of course)! I used the excellent Novoflex. Impeccably made, it can be combined with an L-shaped bracket for heavier lenses (in my case the Nikon 14-24 that I didn’t bring to Paris).

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The counter is a small body that in your hand is comfortable, but not as much as a DSLR (especially for those who have bigger hands). In short, after a while you feel a little ‘lack of something more comfortable in your hands, but I did survive without major problems.

In terms of dials, you’ll find the same of a classic DSLR, nothing new a part of the exposure compensation dial. Very comfortable to have it available, but a little ‘less practical to use. Looking through the viewfinder and looking for it with your thumb, it is easily confused with the dial on the back (the one for shutter or f-stop), but location aside, it’s a good thing there is.

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Regarding buttons, in my opinion, there’s too many.  I would have preferred a more essential camera (more like a Leica M than a DSLR), but well, since most of these are customizable, I’d say better to have them and ignore them rather than the reverse. The thing that I do not like instead is the shutter release button. It ‘s too backward on the body and, being upright, your finger stays in an unnatural position. Also, the worst thing is that no threaded hole has been designed on it for an eventual soft release in order to get a more comfortable feeling.

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Let’s come to more interesting part of this camera, the electronic viewfinder (EVF). Let me reassure you by telling that it works very well. The vision is quite natural, and the eye does not get tired as I feared would happen. The possibility to customize it is the real gem. We can preview the final exposure and we can also see the final image with picture style such as Black & White, Sepia, etc. Moreover, the presence of the EVF translates into the possibility of using the focus peaking and live magnification of the image. In practice, we have a chance to see highlighted in red (or yellow or white at your choice) areas of the image that are in focus, helping us in the correct focusing, especially with manual focus lenses. Manual focusing with this feature is very handy and works very well, but it will take a bit of practice (especially with fast lenses). For those who care about pixels, the live magnification will allow you to perfect focusing, good for peace of your monitor magnification. In short, focus is not a problem, as all the instrument, you just need the proper period of training. Unfortunately I cannot say anything about autofocus, because I haven’t any AF lens.

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Let’s come to the battery, the real sore point. It discharges very fast and you cannot stay without a second battery. Especially at the beginning, when you go through all the menus looking for the function you need, the battery consumes impressively fast. The thing is exacerbated by a severe lack: the impossibility of leaving the display turned off and only use the EVF. Or rather, you can use ONLY the EVF, but the main screen becomes completely inhibited even by turning to the menu and viewing images. In practice, we can do everything only through the EVF (i.e. going into the menu and reviewing taken pictures). Not really a good thing. The alternatives are to use ONLY the screen with liveview (completely inhibiting the EVF) or leave it in AUTO mode, where the screen turns off only when eye is approached at the viewfinder. But in this case, every time I walk away the eye from the viewfinder, the screen turns on again showing you all the settings. I did found the possibility to customize one button in order to switch off the screen, but it turns only black while remaining backlit! Incredible! I sincerely hope that this management is improved with new firmwares.

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Another thing I do not like much is the shutter sound. Of course it is fantastic, sounds like an old SLR, sounds solid. But it’s definitely too strong! In street photography this is not a good thing at all. In short, from a machine without a mirror I would have expected a lighter “click”.

Nothing to say except notes of praise on the image quality. Optimal dynamic range and very malleable files in post-production. The behavior at high ISO level is very good. We can work safely at 3200IS. Going over it is certainly possible, but you must expose very correctly. By the way, I personally think that over 6400 is completely useless.

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In conclusion I would say that this is an excellent camera, which can easily replace our dear old DSLR. Reactivity to shoot and feeling are identical to an DSLR and I am fully satisfied after just few days of use, then I can only hope well for the future.

All the shots below were made with Sony A7R and Voigtlander 35mm 1.2 freehand.

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Gianmaria Veronese

Blog: www.gianmariaveronese.com

Facebook page: www.facebook.com/photogmv

Nov 272013
 

Sony a7R with Grip

Week one with the Sony a7R and Zeiss C-Sonnar 50mm By Raymond Hau

By Raymond Hau

A photographer is someone who defines himself by what he does, perhaps for a living or as a life passion. I am not a photographer; I merely enjoy taking photos that document my life travels in as beautiful and satisfying way as possible. This is my take on the new Sony ILC-7R, otherwise known as the a7R.

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A started out with photography in my teenage years with a Contax, B&W film and a dark room losing interest soon after moving to university. No longer with access to a dark room, I got bored pretty quickly until that was the digital revolution had arrived for me with the purchase of a Canon 350D. That was 2005 and it had remained my faithful until this year wherein it was retired for something new; I have always had access to newer and better but I always remained with the Canon because it was such a joy to use. But with the advent of new technology, why carry around a 5D3 when I can get the same thing in something more manageable? I now shoot the X-E1, RX1 and for the past week, the a7R.

I never intended to purchase the a7R, I was happy after retiring my Canon system for the RX1 and X-E1 – both are excellent cameras for my needs (the RX1, exceptional). However come launch day, I could not resist walking past and not testing the new Sony cameras. I walked out with the expensive one.

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I have been shooting the a7R and vertical battery grip with a Novoflex adapter and the Zeiss C-Sonnar 1,5/50 ZM for the past week and it is an absolute joy to use; I do not regret spending money on a new and as yet untested system. I would say I am smitten but interestingly enough, not as smitten as I was when I first handled the RX1. The RX1 is a hero camera and by that I mean a top-of-the-line showcase of technology and awe in the tried and tested ‘because we can’ fashion but it works and it is an amazing thing of beauty. The a7R is amazing but is not without its quirks.

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Let me get the positives out of the way first.

This camera is a beauty, the image quality from the a7R in combination with the C-Sonnar really showcases the Zeiss ‘pop’ and is dangerously good looking for a square block when the vertical grip is attached. Although the C-Sonnar will show heavy purple fringing in high contrast areas wide open but it is controllable; for those that wonder, the C-Sonnar is also sharp in the centre wide open and when stopped down to f/8, is sharp across the frame. I will make no great comments on auto-focus performance much more than to say it is faster than the RX1 in good conditions and about the same in bad; I prefer to manually focus and I maintain a decent hit rate not to need to worry about needing auto-focus.

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Noise and Dynamic Range.

I was rather surprised to find more noise than I expected to see, especially compared to the RX1, there seems to be more noise at lower ISOs. I was not sure what to expect but the overall image quality was surprising me and so I have not thought about it since. Dynamic range however, does not appear to be as clean as the RX1 when pulling out detail; more specifically there appears to be slightly more noise in the shadows and if white balance is not correct, the colours can appear off. The RX1 files are able to handle 100 point movements in the highlights and shadows sliders without an issue, the a7R not quite so.

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The handling is actually quite uncomfortable.

The grip appears to be a great idea but falls short in actual use that I would go as far to say I would prefer the a7R without a grip, similar to the RX1. In comparison, the Olympus E-M1 grip is fantastic. Saying that, once the vertical grip is attached the handling of the a7R changes and becomes rather good to use, so much so that I now have the vertical grip permanently attached. It does increase the weight and size, but not uncomfortably so even if I do shoot it handheld without a neck strap. The option is always available to remove it when size or weight becomes a priority.

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The lens eco-system is appalling.

I love my wide-angles, but there are none for the a7R unless I use adapters. I can deal with that but then there are issues with size versus performance. The size of the Voigtlander 15mm Heliar was perfect; the image quality was not. As others elsewhere have noted, magenta creep and smearing everywhere you looked. The LA-E4 adapter and Sony 16-35mm F2.8 ZA SSM works well but the monstrosity in size (as well as price) was a turn off.

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At the other end of the spectrum, looking at 85mm options, for me only the Zeiss 85mm F1.4 is my preferred choice. The native 85mm ZA lens with the attached LA-E4 adapter looks comical in proportions but I was not laughing when it came to actually using the thing; two hands are definitely required here. I will be testing at some point soon whether a Novoflex adapter and the Nikon ZF version fares any better. The lack of a lens roadmap is of real concern; I would like to know whether Zeiss will be releasing their famed 85mm f/1.4 to the FE format or whether I should plump or an adapted version.

Battery life is as bad as expected.

Everything should already know this and therefore should hold no surprises that a single battery will not last a day of shooting. I turn the LCD off, preferring to only use the viewfinder and yet the battery dies amazingly quick. The vertical grip obviously helps, as do the four extra batteries I have purchased.

No button to switch between the LCD/EVF. Why this is the case I am not entirely sure as for a camera where battery life is an important consideration, I presume many people like me would prefer to turn the LCD off when shooting. Fuji has implemented this correctly by automatically previewing shots on the LCD when in EVF mode. This is a small issue but extremely annoying one in any case.

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The shutter button is too sensitive. A mere swipe of my index finger and any actions I am performing are cancelled i.e. focus peaking magnification. This was an annoyance at first but now I have adjusted to hover my index finger above the button instead. Even though, it is still annoying.

I see myself keeping the a7R (along with the RX1) for a very long time, perhaps as long as I had the 350D. I have not delved too much into image quality as in my view, with the current state of camera technology as it stands, that conversation is moot. The image quality from cameras such as the a7R, RX1 or X-E1 will be more than enough for the majority of users like me. The minority who really need the finest of details are probably out earning their bread rather than reading a review written by me.

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In closing. After a week of using the a7R, if the only issues worth writing about are the ones above then I am happy. I was looking for a camera that could last me the next 7 years and I think I have found one; it is an enjoyable camera to use, especially with small rangefinder style lenses. All controls are at my fingertips; a little finger acrobatics are required at times but that is to be expected in something built this compact. Also, never having to worry about whether the camera can keep up with the images I want to take is liberating. I am used to ‘working within the limitations’ of cameras to get the shots I want and this was especially true with the old Contax and Canon. Great shots were there, you just had to work harder to get them. With the a7R, I maintain the enjoyment of the photo-taking process without feeling the equipment getting in the way or limiting my options.

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If I could love a camera, I would marry this one (but keep the RX1 as a mistress on the side!).

Many thanks to Steve Huff. All photographs shot in RAW format with the Sony a7R, Zeiss C-Sonnar 1,5/50 ZM and processed through Lightroom 5.3RC.

For more photographs taken with the Sony a7R (as well as RX1, X-E1), please visit my tumblr website at http://jkspepper.tumblr.com (also flickr:http://www.flickr.com/photos/_dhermes/ and 500px: http://500px.com/jkspepper)

You can pre-order the Sony A7 or A7r at the links HERE.

 

Nov 222013
 

The Leica C goes to the Holy Land

By Gary Perlmutter

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Readers of Steve’s excellent website will know that I have used and written about a number of cameras including the Fuji X100 and The Nikon V1. These tend to be used mainly for my passion of street photography. At present I am using the Leica M8 which whilst almost an antique in the digital world is still capable of producing stunning results, with the right light and lenses that is. However following the often quoted line’ the best camera is the one you have with you’, there have been times when the M8 gets left at home and guess what I miss some shots. So I set about looking for a truly pocketable camera that could still produce results that wouldn’t leave me wishing I had taken the picture on the M8.

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My short list included the Canon S120 and the amazing Sony RX100. However both lack a viewfinder, which being ‘old school’ I still prefer to hold a camera to my eye, at least as an option. It was at this time that Leica announced the C type 112, which yes I know is a rebranded Panasonic LF1. Although you pay a premium for the red dot, at least it includes a copy of Lightroom 5 and I believe a better warranty? I also prefer the Audi design which comes in two finishes, Champagne or Dark Red. I chose the Dark Red version as being the more subtle for my street photography.

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So why the Leica C? Well its unique I believe for a compact in including a built-in EVF, ok the quality of which is pretty rubbish by todays standards and the view minisucle. However when the sun is too bright for the rear screen at least one has an option. It also boasts built-in Wi-Fi which when used with the free app, Leica Shuttle, available for both Apple and Android devices, allows one not only to transfer your images wirelessly to your phone or iPad (and then share to Facebook etc.) but also operate the camera remotely!

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Other features that I liked include the zoom range which extends from 28mm to 200mm, which beats both the Sony and Canon alternatives hands down. Perfect for travel photography which also happened to be perfect timing for me as I was just about to go on holiday to Israel. At the 28mm end of the zoom range the aperture is a fast f2.0 although this reduces to f5.6 at 200mm.

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I have found noise control to be acceptable to as high as 1600 iso providing one shoots in RAW (or DNG to be precise as this is the native Leica method) and edit subsequently in Lightroom. The autofocus I have found to be really fast and never misses, far better than the Fuji X100 and not far off the NIKON V1.Usually like Steve I use the single focus point method, but I have been trying out the focus tracking which has been superb. It’s by far the easiest I have used and great for tracking people walking towards you . Once locked on where the focus point changes from red to yellow, it works a treat. As for other features, it also sports a lens mounted control ring, like its rivals, but better I find than the Sony in that is has click stops. This ring can be assigned to almost any function that suits you. I tend to use it as an exposure compensation dial. Choice of shutter priority, aperture or full manual as well as the usual auto and program modes.

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So any downsides so far? Well yes I wish it had the larger 1″ sensor that some rivals have for better dynamic range and noise control and that the EVF could have been better. However apart from this, I feel I have now found a camera that truly is always with me when I leave home. No more excuses from me for missing that once in a lifetime photo!

Links: http://stephenbartelsgalleryprints.com/index.php?photographer=89

flickr: http://www.flickr.com/photos/gp_photography/

twitter: @gazonthestreet

You can buy the Leica C from Ken Hansen ([email protected]), The Pro Shop, PopFlash.com, Leica Store Miami, Amazon or B&H Photo!

Nov 082013
 

The Three Amigos in the Streets of New York:

Ricoh GR, Sony Rx1, Nikon V1 and 32mm Lens

By Joe Marquez – His website can be seen HERE

On a recent trip to New York, I took the Ricoh GR, Sony Rx1 and Nikon V1 (and 32mm lens) to do a little street photography on the side. The Ricoh GR is the smallest aps-c camera, the Sony RX1 is the smallest full frame camera and the Nikon V1 is most likely the fastest focusing mirrorless camera in the world. Walked around New York in my spare time carrying these three little cameras in a very nice ONA Bowery bag.

Here are my brief thoughts working with each of the cameras and I’ve included a plethora of images for your review.

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Ricoh GR

The diminutive Ricoh GR has the full frame equivalent of a 28mm f/2.8 lens and is widely touted as one of the best street cameras available. I consider its 16.2 MP aps-c sensor a sweet spot for street work. I’ve owned this camera for about a month and it took a few days to get comfortable with the menu system and features. I still have much to learn yet I was able to use the Ricoh effectively on the street.

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For the most part, I set the camera on TAv mode (manual setting of aperture and shutter speed and auto iso) and adjusted aperture and shutter speed as necessary. Very easy, intuitive and important because light in New York City changes often and significantly due to buildings, open avenues, cloud cover and more. I did blow out a couple of shots when I forgot to adjust shutter speed. However, other than my miscues, the camera seemed to consistently nail exposure.

Another feature I enjoyed was every time the camera turned on it would display the function buttons and the assigned customization. Such a small feature but so nice for a Ricoh novice such as myself. And of course the exposure compensation toggle was easily adjustable with my thumb and I used it with no problem.

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I really enjoyed the focusing options on the Ricoh – perhaps its strength. Primarily, I used snap focus between one to two meters but would often override by using the autofocus button. In general I stopped down as much as possible to maximize the DOF however there were situations when I had to shoot wide open at f/2.8.

Image quality from the Ricoh was outstanding. Colors looked accurate, black and white conversions were excellent and there’s plenty of detail in the 16.2 MP aps-c sensor.

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Oh and I really liked the small size of the Ricoh. One day while shooting the New York Halloween Parade (with a Nikon DSLR – my El Guapo) I carried the Ricoh in my pant pocket and used it for a few wide angle shots. Worked like a charm. Also, the camera is so small and discrete people pretty much ignored my picture taking. Thanks Ricoh for keeping the camera so nondescript. Well done.

Overall, the Ricoh was the smallest and most discrete of the three, but simply worked great – the Martin Short of the Three Amigos.

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Sony Rx1

The Sony Rx1 with the 35mm f/2 Zeiss lens is a superb camera and produces amazing images with its 24.3 MP full frame sensor. However, the Sony would be such a great street camera if it simply added a snap focus feature or would not revert to infinity every time the camera slept or was turned off. Of course shooting at f/8 or f/11 alleviates much of the focusing issues, but my intent was to shoot the Sony wide open to get that shallow DOF for a completely different street look than the Ricoh.

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To give me the focusing flexibility I assigned the C button to AF/MF Control Toggle and the AEL button to AF/MF Control Hold. This allowed me to alternate between autofocus and zone focusing. More often than not I would focus to a particular point by holding down the customized AEL button, then release to lock in the distance. This required some extra effort but worked reasonably well. I probably looked silly randomly aiming the camera at different things in different directions to get the zone focusing distance I wanted. And of course every time the RX1 went to sleep the distance would revert to infinity. Ugh.

Overall I was willing to sacrifice the percentage of keepers to get that shallow DOF and lovely out-of-focus rendering from the Sony – so most of my shots were taken at f/2. Occasionally a scene required a greater DOF and it was a treat to hear and feel those 1/3 incremental soft clicks when I turned the aperture ring. Sweet camera this RX1.

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I shot in manual mode (mostly f/2) and auto iso and adjusted shutter speed depending on light. The exposure compensation dial is readily accessible and allowed me to quickly tweak if needed.

Image quality was superb as one would expect from this camera and the shallow DOF shots were just what I wanted.

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If the Ricoh GR is Martin Short, the Sony Rx1 is Steve Martin – the most successful of the Three Amigos.

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Nikon V1 and 32mm Lens

That leaves Chevy Chase. I only took one lens with the Nikon V1 and that is the 32mm f/1.2. This gave me the equivalent of an 86mm super fast lens on a fast focusing camera – all in a package similar in size and weight to the RX1.

As you may be aware I am a fan of Nikon’s 1 System, primarily because it is the fastest focusing mirrorless system available. And despite the small CX sensor, the camera delivers more than adequate image quality for my street photography. Add the 32mm lens to the V1 and now I had a crazy quick rig and an entirely different look than the Ricoh and Sony.

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In many ways the Nikon is the easiest to shoot because it has the fewest bells and whistles. I set the camera to manual or aperture priority and auto iso. I love shooting at f/1.2 and the greater DOF with the small sensor hides many focusing errors. Focus is set to auto-area, face-priority AF is activated and I simply let the camera rip with its silent electronic shutter that reaches speeds of 1/16,000 sec. So different than the Ricoh and Sony.

Autofocusing is fast, accurate and tracks very well – although not perfectly. If someone walked toward me I raised the Nikon and pressed the shutter. Most of the time the camera found a focus point quickly, but occasionally it hunted before finding a subject or face. Sometimes it missed focus entirely, then latched on in the second or third shot of a continuous sequence.

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The Nikon was so fast I was able to get a considerable number of in-focus shots out the window of a fast moving New York taxi. It could see it trying to lock onto people’s faces standing or walking near an intersection. Incredible little camera and the 32 is just plain special IMHO.

Image quality may be the worse of the three cameras but is perfectly adequate. The metering system is top notch and the small 10 MP files convert beautifully to black and white. The out-of-focus rendering of the 32mm lens is a pleasant surprise and of the three cameras it produced subject isolation the best.

The Nikon with the 32 is larger than the Ricoh, but because of the longer focal length I was able to get some nice close-ups without being intrusive. People in the street generally ignored my shooting with the Nikon and 32 and I believe I was able to get the most natural looking candids of the three.

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Overall the Nikon did a great job on the street and I probably ended up with more keepers than with the Ricoh or Sony. I suspect this may change over time as I become more familiar with the Ricoh GR.

So the Nikon 1 system may not have the image quality of the Ricoh or Sony, but the one strength it has – incredible autofocusing – when coupled with the fast 32mm prime lens makes for a beautifully efficient street rig.

Final Thoughts

You may wonder why I took three cameras and didn’t just use the Nikon V1 and an all-in-one zoom lens (10-30mm) or a couple of primes (10/2.8 and 18.5/1.8). Well, the zoom lens is too slow and even with the 1 System primes, I really wanted a variety of looks and the image quality of the Ricoh GR and Sony Rx1.

I’m not a pixel peeper when it comes to image quality. In particular, street photography is less about image quality and much more about the moment and composition – and of course getting the subject in focus. But all else being equal it’s nice to have that little extra image quality or slightly different look if possible – and he Ricoh and Sony delivered.

Overall, the Ricoh GR is small, discrete and simply made for street photography. The Sony Rx1 is a bit temperamental as a street camera, but the images are so lovely and worth the extra effort. The Nikon V1 and 32mm lens kept producing surprisingly strong street images with the least amount of work.

Why else take all three? Kind of cool being on the streets of New York with the smallest aps-c, smallest full frame and fastest focusing mirrorless cameras in the world – and shooting like the wind. Cough.

 

Nov 022013
 

Three quick shots from the Sony RX10

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Ahhh, the Sony RX10! I am now back home from Nashville TN after a week of testing the Sony A7 and A7r..it was a great time. Because I was so into testing the A7 series and had such little time to do much of anything besides shoot them I did not get to use the RX10 while there. Luckily, Sony handed me one to take home with me so I could get to know it better and review this little beast. I will have a first look next week with video and 1st thoughts but for now, on this Saturday night, I want to post three quick samples that I shot a couple of hours ago at the AZ State Fair. It was dark so the camera was at high ISO but the AF was fast, no hunting at all. The 24-200 f/2.8 Zeiss lens is actually a knockout. The constant f/2.8 REALLY helps when shooting at 200mm.

Anyway, I did not want to leave this new guy out in the cold so wanted you all to know I am now shooting with it and will be reviewing it soon.

Have a great weekend!

PS – I had Noise Reduction set to OFF. Click images for larger. These are JPEGs.

You can pre-order the RX10 at B&H Photo HERE.

f/2.8 – ISO 1250 – 1/30th – 24mm

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f/2.8 – 50mm – ISO 1250 – 1/60th

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200mm – f/2.8 – ISO 200 – 1/250

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Sony RX10 Specs:

20.2MP 1″ Exmor R CMOS Sensor

The large, 20.2 megapixel, 1″ Exmor R, CMOS sensor features backside-illuminated technology to enhance its low-light capabilities to an expanded ISO 12800 while still retaining vivid clarity. Using Sony’s Column A/D Conversion, images are rendered with impressive image quality and smooth gradations between tones and colors due to the marked reduction in apparent noise.

New BIONZ X Image Processor

Also benefitting the image quality, as well as overall camera performance, is the new BIONZ X image processor. It faithfully reproduces details and rich tones with lower image noise than was previously possible. Performance speed is also impressive including full-resolution continuous shooting up to 10 fps, high-speed auto focusing and Full HD 1080i/p video recording. Still images can be recorded in JPEG or RAW file formats or both simultaneously.

Carl Zeiss Vario-Sonnar T* 8.3x Optical Zoom Lens

The built-in Carl Zeiss Vario-Sonnar T* lens provides a 35mm-equivalent focal length range of 24-200mm, covering wide-angle to full telephoto perspectives to suit working in a wide variety of situations. The fast constant f/2.8 maximum aperture enables enhanced low-light capabilities as well as greater control over focus placement for selective focus imagery. The lens also features 7 aspheric elements for reduced aberrations and a Carl Zeiss T* anti-reflective coating to help minimize lens flare and ghosting in order to produce imagery with rich contrast and clarity.

Built-In Wireless and NFC Connectivity

Built-in wireless connectivity enables the RX10 to instantly transfer imagery to mobile devices for direct sharing with social networking sites, via email, and to cloud storage sites. NFC (Near Field Communication) is also supported, which allows for one-touch connection between the camera and compatible Android mobile devices; no complex set-up is required. This technology when used with the free Sony PlayMemories Mobile app also provides the ability to use Smart Remote Control, which provides for remote shutter release that is controlled by a smart device.

Full HD 1080p Video Recording with Stereo Sound

Full HD 1920 x 1080 video recording is supported in multiple frames rates, including 60p, 60i, and 24p. When recording in Full HD, the AVCHD Ver. 2.0 codec is used for highly detailed image quality that translates well to editing and sharing on HDTVs. Recording in the Internet-friendly MP4 format is also supported in 1440 x 1080 and 640 x 480 sizes at 30 fps. Manual exposure control is available in video mode. Sound is recorded during filming using the built-in stereo microphone, or additionally, an external microphone can be used in conjunction with the multi interface shoe. A headphone jack allows you to monitor sound directly from the camera and a built-in HDMI output terminal provides direct connection to your HDTV, computer, or external recorder for real-time uncompressed video recording.

High-Resolution LCD Monitor

For live view monitoring, image playback and review, and menu navigation, a 3.0″ 1228K-dot LCD monitor is integrated into the camera body and features a tilting design to promote easier use from high and low angles. The screen can tilt approximately 84° up and 45° down, giving a wide range of viewing angles. The LCD also employs WhiteMagic technology, which enhances the brightness of the display for easier use in bright conditions. Real-time image adjustment can be seen on the monitor and Grid Display and Peaking can be customized for better image control.

XGA OLED Viewfinder

See spectacular clarity, contrast, and detail in every scene, regardless of conditions, on the built-in, bright, high-resolution OLED Tru-Finder electronic viewfinder. Four dual-sided aspherical lenses provide a big, 33º view angle and maintain excellent edge-to-edge visibility of the electronic viewfinder. An eye-sensor on the viewfinder senses when your eye is at the finder and illuminates it while simultaneously turning off the LCD monitor.

Smooth High Speed Autofocus

Aided by the rapid throughput of the BIONZ X image processor, auto focusing on the RX10 is fast and accurate. The Direct Drive SSM (Super Sonic Wave AF Motor) provides fast and smooth autofocus action, and Flexible Spot frames enable versatility and precision when choosing your focus spots.

Precise Autofocus Tracking and New Eye EF Function

Lock-on Autofocus precisely focuses on moving subjects by continuously adjusting target frame size based on its recognition of subject characteristics. Even when a subject goes out of frame temporarily, tracking resumes at the moment that it is recaptured after re-entering the frame. Advanced Eye Detection technology creates Eye AF Function which detects and focuses on the subject’s eye even if the head is turned slightly.

Close-up Focusing

Close-up shooting is seamless and no switching to macro mode is needed. The minimum focus distance for the RX10 is a constant 11″.

Optical SteadyShot Image Stabilization

Optical SteadyShot image stabilization works to minimize the appearance of camera shake when working in low-light conditions or with greater zoom magnifications. The system can counter the effects of both vertical and horizontal movements, and, furthermore, Active 3-Way stabilization adds digital rolling control that balances both clockwise and counter-clockwise movements while recording videos.

Diffraction-Reducing Technology

This maintains outstanding clarity by applying aperture-appropriate filter processing to suppress and compensate for diffraction – a phenomenon that can otherwise limit photographic resolution and cause points of light to appear blurred, especially in images that have been shot using a small aperture (large f-number) setting.

Detail Reproduction Technology

By minimizing digital artifacts that tend to overemphasize hard outlines and rough edges when pictures are reproduced, detail reproduction technology makes images noticeably more natural-looking in detail, texture, and dimension.

Area-specific Noise Reduction

Noise reduction, even in images shot in low light, is individually adjusted based on imaging pattern variations for superior clarity and finer details.

Built-In Flash and Multi-Interface Shoe

A convenient pop-up flash with several flash modes is provided but the RX10 features the advanced Multi-Interface Shoe that dramatically expands compatibility with Sony digital imaging accessories such as flash units and microphones, thus increasing the potential of your photo and movie shooting.

Selectable Click/Click-Less Manual Control Ring

The manual ring gives you direct control of certain settings, zooming, and focusing, according to the focus mode in use. In addition, before turning the aperture ring to set f-stop, you can turn Aperture Click Switch on for clicked aperture adjustment or off for a quiet, smooth feel when setting the aperture. A display panel on top lets you see key settings without moving the camera as you look through the viewfinder.

Multi-Compatibility Memory Slot

The one memory card slot on the RX10 is compatible with Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick XC-HG Duo, Memory Stick Micro, Memory Stick Micro Mark 2, SD, SDHC, SDXC, microSD, microSDHC, and microSDXC memory cards.

Rugged Design

Magnesium alloy top and front casings make the RX10 light, solid, and robust enough for long, rigorous use by advanced photographers and videographers. The camera’s dust and moisture resistant design even allows shooting in rugged outdoor environments.

Advanced Interface and Customizable Buttons

A new, improved graphical user interface makes access to frequently used functions easier, just press the Fn button to display a list of them. In addition, seven control buttons can be customized to adjust up to 40 function types for faster, personalized access to camera controls

TRILUMINOS and 4K Compatibility

The RX10 supports Sony TRILUMINOS Color for exceptionally rich, natural colors when viewing images on a TRILUMINOS display. Also, photos can be viewed on a 4K television via HDMI or wireless output.

© 2009-2014 STEVE HUFF PHOTOS All Rights Reserved
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