Nov 182014
 

Travelling with the Nikon Df

By D.J. De La Vega

Hi Steve,

It has been nearly two years year since I had the privilege of sharing my photos on your site from my photogenic road trip to Tuscany with my Leica X1. In that time I began to lust after a camera with a better optical viewfinder. The 36mm Brightline viewfinder on the X1 is a lovely piece of glass and a joy to use, but unfortunately as it is completely passive, it is not very practical and requires a lot of patience and compromises (and a lot of missed opportunities). This lead me to have a “Moment Back with my D7000″and since then I have not looked back and upgraded to the Nikon Df and have not regretted the decision for a second.

Meanwhile the time was upon me again for what has become my annual photogenic road trip. This year after many deliberations and alterations it eventually ended up being Tuscany again, only this time with a stop off in Barcelona on the way. No longer would my trusty X1 accompany me on my travels, as the Df is now my go to camera day-to-day. Initially I was concerned the added bulk and weight would impact upon my journey as my camera is strapped around my neck every minute of the waking day. In reality however I found if you are prepared to lug a camera with you all day regardless of the size, it is the practicality of actually carrying it not the physical exertion that is the issue. The Df is actually way better suited to life around my neck (not tucked away in a bag or wrapped in leather armour like my X1) and I can absolutely confirm it is a robust piece of kit for its size and weight. I have banged it around quite a bit and even inadvertently tested the weather sealing by spilling a cup of Coca-Cola all over it!!!

In use, I find the Df to be a magnificent camera. The dials are exactly where I want them to be and like my X1, I can look down at my camera and adjust the settings at a glance without raising it my eye. This comes in really handy when walking the streets in built up areas as the light can change from street to street depending on whether the low winter sun is obstructed or uninhibited. As I turn a corner, I will instinctively change the ISO on the top plate depending on how the street is lit, and found in bright sunlight I often used the L1 ISO to facilitate shallow depths of field in bright sunshine. At all times I am aware and can see what the camera is set to in case an opportunity should present itself.

So that is enough of the technical side of my gear, to my results. As I mentioned, my first stop off was Barcelona. This was serendipity as to get the best deals to flights to Tuscany I got to spend a day and a night in the capital of Catalonia. I admit, this is nowhere near enough time to explore such an expansive City, so I concentrated all of my time around the Gothic Quarter and food markets. These were wonderful locations for taking in the culture and atmosphere of the city and they presented me with countless opportunities for my photography.

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For street photography the Df is as responsive as you would expect any DSLR to be. It is no super fast sports camera, but for spotting an opportunity, lifting the camera to your eye and shooting, it is about as instantaneous as you could possibly hope for. Certainly without hyperbole a hundred million times faster than my X1.

From Barcelona to Pisa and then Siena: This time around I did not want to recapture the same photographs I achieved previously. By focusing on this philosophy I was able to explore a lot deeper than before, ignoring the local landmarks and focusing on the people and the ambiance of these underrated cities.

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For me, the pièce de résistance of Tuscany is the incredible city of Florence. This time around I made sure I had ample time to really soak it all up and immersed myself over three days and nights aimlessly wandering the charismatic streets. I do not posses an adequate number of superlatives to begin to describe the culture, art, architecture and culinary delights of this amazing place.

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(I genuinely only took this shot of the chap shooting the street with the M9 for this site to see if he was a reader or to see if any readers knew him?)

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I hope you have enjoyed my results even half as much I had making them!
DJ De La Vega https://www.flickr.com/photos/djdelavega/

@dj_delavega

http://instagram.com/dj_delavega/#
P.S These are the links to the relevant articles mentioned at the start of the post.

http://www.stevehuffphoto.com/2012/12/24/photographic-road-trip-ii-tuscany-by-d-j-de-la-vega/ 

http://www.stevehuffphoto.com/2014/02/26/a-moment-back-with-my-nikon-d7000-by-d-j-de-la-vega/ 

BUY…

You can Buy a Nikon DF at Amazon or B&H Photo

See Steve’s Review of the Df HERE.

Nov 072014
 

Halloween at the Hellfire Club

by Ibraar Hussain

Dear Steve, Brandon and all www.stevehuffphoto.com lovers!

A quick one, seeing as Halloween just passed, I thought it would be apt for me to submit some photos for the time of year.

I went to The Hellfire Caves at West Wycombe at this time of year, on a dreary dark Halloween, followed by a trip to West kennet Long Barrow and Avebury in Wiltshire, an area with a long tradition of things Pagan and ancient.

West Wycombe is worth visiting, and the area around the Dashwood Mausoleum can be very creepy at night, even during the day there is something other worldly and eerie about the place. The Hellfire Caves were a meeting place for the Hellfire Club since the 18th century, and one Benjamin Franklin was also a member!

All worth visiting, and enjoying and great places for photography!

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

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

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

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

I was armed that wet day with a Minolta Dynax/Maxxum 5 35mm SLR with a slow kit lens and used the flash inside the caves. It is small and light with a very fast AF – and takes all Dynax/Maxxum/Alpha lenses. It was loaded with a roll of Ilford HP5 and I had it developed at a Lab so all basic and low-fi.

Sunlight at West Wycombe Hill, Buckinghamshire

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Wiltshire from West Kennet.

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Girl at The Hellfire Club, West Wycombe, Buckinghamshire

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Wiltshire from West Kennet.

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The Dashwood Mausoleum, West Wycombe, Buckinghamshire.

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In The Hellfire Caves, West Wycombe, Buckinghamshire

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West Wycombe Park and House, from West Wycombe Hill, Buckinghamshire

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At The Hellfire Club, West Wycombe Hill, Buckinghamshire

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Nov 032014
 

Pictures around Egypt

by Mohamed Hakem – his website is HERE

Hello Steve, I am a young egyptian photographer who has passion for the art since I was a kid. Photography is my hobby, interest, love and passion. The most thing I liked about this site is that it has a different vision; everyone is seeking to be a pro, But the Idea here is different. Here we don’t pixel peep, we don’t speak technical terms in the form of charts, we only talk about passion. The term Passionate photographer is exactly what attracted me this website. I don’t want to be a Pro or a commercial photographer, I want to be passionate about what I shoot.

Living in a country like Egypt I had to overcome a lot of difficulties to pursue my passion. Acquiring gear is the first as you have to pay double or triple sometimes quadruple what anybody else pay and wait a lot to get what you want to imagine selling or upgrading its a real pain. I reached a point where I had to start thinking about making money out of it but I totally failed. In Egypt weddings are the only way to make money and that’s not me. I was more of a nature/culture lover.

Secondly In Egypt there is nothing that people know as a landscape or a nature photographer. Here photographer is the kodak guy who tells you smile! To print and sell. So If I ever decided to give my full-time and seek my passion I end up jobless.

I love my country and I want to show the world its beauty, Speaking of culture, Egypt has an unparalleled culture and nature. Egypt should be the touristic capital of the world. Egypt is safe and has the best location, weather, monuments (more than the whole world combined) crystal clear water, magical deserts and safaris, Culture(Ancient Egyptian – Greek – Roman – Islamic – coptic – jewish – pre historic!), best food and everything you’ll ever think of. So I decided to throw away all the money-making thoughts and I stopped nagging about the prices, and I decided seek my passion, travelled around Egypt to to infamous places to try to show the world the beauty that few knows. I built a website to show the photos with nothing in my mind except my passion.

The below photos is the combination of pictures from around Egypt In the White desert, Wadi el Rayan Desert, some Wild life And Cairo

An Angry leopard in africa Safari park – Alexandria Egypt

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A lovely camp under the milky way in the white desert

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A lovely merchant in Kham El Khalili

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This is not the surface of the moon, this the white desert at night! Yes the ground is white and it really is that glowing at night

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A kind man waiting for the prayer

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The king of the desert in Wadi el Rayan

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The Egyptian Owl

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El Max in Alexandria, a simple fishermen’s home

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Moez street in Cairo

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Ibn Qowaloon mosque in old Cairo

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The Fayoum desert – a desert Made for camping!

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Mohamed Hakem Hussein

Oct 292014
 

The Winterless North and the Leica Film M’s

By Jason Howe

Much earlier in the year I had some surgery on my knee, I can tell you there is plenty of time to think when you spend weeks sat around on the sofa watching daytime tv!! During these weeks of boredom I figured out a few things I needed and wanted to do once I was back on my feet.

Firstly I created my own little photography space, part darkroom and part office, this has been a huge advantage, no more migrating from room to room around the house. Secondly, I really wanted to get back to basics and shoot more film, not only did I want to shoot more film, I also wanted to take more ownership of the whole process. I got lucky and managed to pick up a relatively unused Jobo CPP2 with lift, an achievement in itself here in NZ. The tanks and reels I picked up from the helpful and equally awesome guys at Catlabs.

I few weeks ago I managed to fabricate another road-trip opportunity and with it a chance to visit another part of New Zealand, one that I haven’t explored before. As a continuation of my enthusiasm for shooting film I’d maybe crack out a Leica film camera or two for the trip.

Route -
Head to Cape Reinga at the extreme tip of the North Island, taking in a few other random places on the way. Experience has taught me to have a plan to fall back on but to follow my nose most of the time……

Gear -

Leica M7 & Leica M3 DS
35mm Summilux f/1.4 Asph
50mm Summilux f/1.4 Asph
15mm Voigtlander Super Wide Heliar f/4.5 Asph

I have now mastered the art of travelling light, well lighter when it comes to gear.

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I grabbed a random handful of films, well 24 rolls to be exact, safe in the knowledge that there’s absolutely no way I’d be able to shoot that many rolls in a few days but I did manage 12 which for me, is quite a lot.

Kodak Ektar 100
Kodak Portra 400
Agfa Vista 200
Fuji Superior 400
Fuji Velvia 50
Fuji Astia 100f
TMAX 100
TRI X 400

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I’ve developed the C41 films myself in the JOBO CPP2 using the same Digibase C41 Pre-mixed kit I’ve used recently. Likewise I’ve also developed the B&W, this time using XTOL. I’ve not got my E6 Chemicals yet so these were kindly developed by the awesome Film Soup.

Scanning -
Again, I’ve done this myself, I’m certainly still getting to grips with my current scanner.

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There are no such things as strangers, only friends we haven’t met yet!! I don’t know where that saying originated but I can’t help but think it was based on someones experiences in New Zealand!!! People, especially in small towns are more likely to engage in conversation with a stranger, put a film camera in the strangers hand and they are more likely still!! Throw in an English accent and well you can pretty much speak to anyone, anywhere……..

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I’m trying to be more present in the moment, less rushing around chasing photographs and more relaxing and just accepting what comes along. Obviously I huge part of photography is creating memories, not all images can be beautiful, nor should they be, I’ve included the image below to highlight that.

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Whilst undoubtably slowing progress my continued inclination to drive down random side roads does yield the occasion benefit. I followed one such road for several kilometers until it eventually ended at a deserted white sand beach, deserted that is apart from a small campervan. You see these vans in NZ, half a million km’s on the clock, no doubt carried endless numbers of travelers around the island before eventually being sold on and on and on. It appeared to be empty but as I began to walk away from it a voice yelled out “Kia Ora Bro!” as I turned a face popped up in the rear window. Five minutes later and I was sat at a makeshift table and chairs sharing a cup of tea with this generous stranger. The kiwi’s call it having a yarn and as we sat putting the world to rights, sipping tea and discussing the beauty of the “winterless north” he made an admission…… “The truth is I was only hitting the road for a few weeks, in actual fact I was supposed to be back at work by now, well 2 months ago to be honest!!!” We cracked up, New Zealand can do this to you, “S**t! I need to do a lot better than you” I said.

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For me, there’s always a period of reflection when you return from a trip. With the exception of the E6 processing, the dune and cloud shot, this entire analog post is my own work from start to finish. When you actually stop and think about the process it’s actually a little bit daunting, that said it’s also incredibly satisfying. Breaking it down, from seeing a photograph, executing the shot, developing the film and getting a scan you’re happy with there’s actually quite a lot of margin for error…..Had I shot these images on digital I’d have known immediately if I’d got the shot, there’s no risk to processing them and they could have been posted within a couple of days, don’t get me wrong, I’m not saying that’s a negative in fact most of the time that suits! Nor am I saying these are the best photographs I’ve ever taken, but I’m going to stick my neck out and say that right now they are the ones that have given me the most satisfaction.

This is just a small extract of my trip, the entire post including processing details can be seen on my website HERE.

Cheers, Jason.

Sep 232014
 

The OMD EM5 in the Nation’s capital

By Jose Miguel Constantino

Dear Steve,

After reading the user reviews and watching your reviews about the EM5 and the Zuiko lenses, I decided to pull the trigger and replace my cumbersome Nikon D5100. After nearly 8 months shooting with the EM5, I am one happy camper! I love the size and versatility of the camera coupled with the 17mm F/1.8. The image quality is fantastic, and the OOC jpegs are great even up to ISO 3200. Parking in Washington DC is terrible, so I usually ride my motorcycle with a small backpack. The EM5 leaves plenty of room for my lenses and a change of clothing in my backpack. The summers in DC get extremely humid, and the heat of the engine does not help.

After a few months of eating ramen noodles for weeks to save money, I finally had enough to purchase the amazing 75mm F/1.8 lens. Wow! The images are amazing, and the bokeh is to die for! It does take quite a bit of getting used to because of the super long focal length, but I guess when I am wandering aimlessly in the city it isn’t much of an issue. The build quality is fantastic; it just feels exquisite and expensive like a piece of jewelry.

https://www.flickr.com/photos/49272116@N02/

http://streetsofdmv.tumblr.com/

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Sep 232014
 

Holidays through 50 APO Summicron and Noctilux ASPH

By Miguel

Hi Steve,

I am an avid follower of your blog – thanks for constant fresh comments, ideas and reviews. Pls keep it up!

I’ve seen recently quite a few questions on the new APO Summicron 50 ASPH and wanted to share my thoughts after using it for a couple of months during holiday time. I’m lucky enough to also have at hand a Noctilux ASPH, so, i’m posting also a few shots taken with it w a M240.

I’m not neither pretend to be a pro photographer, but still hope my opinion will help others. Pictures are just a random selections of shots i took over the last months while on holidays. Objective to let you judge the difference between the lenses, so there is no specific thread or link among them.

Very simply put and at risk of repeating what has been said before across the web, i’m overall impressed with the APO summicron. The images really pop, specially when seen in a retina macbook or even an ipad retina. Sharp, alive, with rich colours that require little processing in lightroom. If you couple this with a small size, i believe it is frankly one of the best lens i’ve ever used, if not the best. Including the summilux 50 asph that i used a couple of years back.

The noctilux is outstanding as well, although in a different way. Shots are magical, with a real strong wow factor that your family and friends will be impressed on. I almost exclusively shot it at 0.95, definitely below f2.0, as the lens is to me made for that, and obviously at these apertures it is less sharp and contrasty than the summicron.

So there it is, both are absolutely jewels, each in its own way. I’m using the cron for overall day-to-day, mostly shots of friends, kids and family, portraits. And i’m using the noctilux when i want to wow the audience with shots they aren’t used to see or i am in a more creative mode day.

Pros for cron: realism of the shots (as if you would be there), sharpness, colours, size, min focus at 0.7 m. Cons: it is ‘only’ f2
Pros for noctilux: truly wow factor, narrow DOF/low light. Cons: size, chromatic aberration (it is significant), min focus at 1.0 m

Some would ask which one would you keep. Frankly the answer is i don’t know.

miguelec
www.m-journey.net (you can find a few of my pictures there; unfortunately with 2 little little kids i didn’t have the time to update it, now for quite a while…)

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Sep 102014
 

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

By Judd Weiss – Visit his site HERE

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

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

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

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

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

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

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

 Shot at 12,800 ISO

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

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

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

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

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

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

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

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

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

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

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

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Sep 042014
 

Burning Man 2014 with an OMD E- M1

By Steve Richards

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Hi Steve, since it’s while since I posted anything on your site I thought your readers might be interested in my latest trip – I went to Burning Man for the first time this year and after much reading and deliberation I decided to leave the M240 at home since although the latest body is weather-sealed the lenses are not and I didn’t want to risk my expensive glass. (Wuss!)

I’ve always liked the m4/3rds format since my first Lumix G1 years ago so I took an Olympus OMD E-M1 with a single lens – the Oly 25/1.8 – the challenge to see if I could capture some decent shots with a compact and simple set up.

The conditions are extreme, high daytime temperatures and dust storms that can totally envelop everything. The set up was left unprotected – some photogs put their kit in a plastic bag, I didn’t – you can see from the camera shot it got totally dusted! Although the lens is not weather-sealed it didn’t seem to get any dust inside during the week I’m sure partly because I stayed with the same lens the whole time. It’s all perfect now I’m home and it’s cleaned it up beautifully.

As for the pictures, I’m really pleased with the outcome, apart from the real night-time shots that are noisy, even post cropping the quality is ok for my purposes. The real bugbear is the crazy number of buttons on the camera body and the super complex non-intuitive menus, that combo drives me crazy and will chase me back to the simplicity of a Leica M for my next trip. Why don’t the mfs have a “simple menu” option that closes down all but the basic functions?!

My FB page link to more Burning Man shots below

https://www.facebook.com/media/set/?set=a.647315935375621.1073741837.100002916611034&type=1&l=63d2c2d4ab

Keep up the good work fella, your site is one of the best around…

Best regards
Steve Richards

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Aug 252014
 

My People Pics with a Nikon D600

By Yopin Welly

Hi Brandon,

I’m Yopin Welly and I currently reside in Jakarta, Indonesia. I love taking portraits of people and doing street photography. My current setup is Nikon D600 with 3 set of primes ( 28mm 1.8G , 50mm 1.4D, and 85mm 1.8G), all those lenses are beautiful, did use Canon 5D mark 2 and Nikon D7000 in the past too. I do shoot film occasionally with my Nikon F100.

One day  showed some pics i have taken to my friends and one of ‘em told me “try post it to stevehuff !”, so i decided why not post it in SteveHuff too, after all i do have my online gallery which is www.flickr.com/photos/jonkopinx.

Photo details :

Oh What a Day: Nikon D600 + 28mm 1.8G / ISO 400; f 4; 1/125s

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People Around Us Portraits Series: Nikon D600 + 35mm f2 Ais / ISO 100; f5.6; 1/160s

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People Around Us Portraits Series: Canon 5D mark 2 + 40mm 2.8 STM / ISO 200; f 4; 1/80s

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cheers, YW

Aug 192014
 

Shooting with The Mitakon 50mm f/0.95 and the Sony A7 

By Doug Frost

I’ve been a happy owner of the Sony A7 since last December. For me, it won out over the A7r because of its slightly quieter and lower vibration shutter. It seemed better suited for handheld shooting than its 36mp sibling. And frankly, 24mp is plenty for me in most situations. I had been using the A7 with a variety of lenses with adapters. I have a few Zeiss Alphas which I love and I occasionally use it with my 50mm Zeiss Planar M-mount and a variety of vintage Nikon AI lenses. All great glass. I’ve always preferred shooting manual focus, and the A7 with its EVF and focus peaking makes it super easy to do.

But the one thing I lacked in my camera bag was a native FE mount lens. I had been considering buying the Sony Zeiss 50mm f/1.8 FE. The reviews of that lens have been very positive, and I was on the verge on buying one when Steve posted his first look preview of the Mitakon Speedmaster last April. I was immediately intrigued by the Mitakon. It wasn’t the sharpest 50mm lens by any means. It suffered from some light falloff at f/0.95, the bokeh could be a little quirky in some situations and it didn’t come with a lens hood. But there was a quality in the look of the sample shots I was seeing on Steve’s site and elsewhere that I really liked, especially when used wide open.

So, to make a long story a bit longer, I decided to get in on the pre-order discount price, and waited. And waited. And waited. The June delivery date came and went. The revised date in mid-July passed, and still no lens. The distributor, MXCamera, was apologetic. Their factory was having trouble getting the lens coatings right and they were shipping at a fraction of the anticipated rate. Finally, on August 6th, three months after I placed my order, I emailed them saying I was tired of waiting. To my surprise they replied the next day and said they just got a few units in from the factory and they’d ship one to me ASAP and gave me a tracking number. I was delighted.

The following day, MXCamera dropped a bit of a bombshell. The Mitakon Speedmaster had been discontinued! It was being replaced by a redesigned “pro” version of the lens that they dubbed “The Dark Knight”. Not only that, but everyone who had still not received the original version they ordered would now be getting a Dark Knight in its place!

Wow, I was taken aback. At first I was annoyed. Maybe if I hadn’t emailed them they would have sent me a Dark Knight instead. It was an odd situation, because a lens I had waited three months for, and was now finally enroute to me, had been discontinued before it even arrived!

But now that I have my Mitakon and shot with it, all is forgiven. I’ve decided that henceforth it will be known as the “Mitakon Speedmaster Classic”, a rare and highly coveted beast. Will The Dark Knight prove to be a better lens than the Classic? (It has yet to be reviewed as I write this.) Maybe. I have no idea, but more importantly, I don’t care. I love what my Mitakon does for me and that’s all that counts in the end.

I’m fortunate to live in the San Francisco Bay Area. It’s one of the most beautiful regions on the planet and San Francisco is one of the biggest tourist destinations of all. For this user report I wanted to show what the Mitakon could do when used wide open in low light. I decided on ISO 1600 for all of the shots, because the A7 does very well at that speed and at f/0.95 I figured it would be fast enough.

I decided to shoot in the evening in a San Francisco neighborhood where there would be lots of tourists milling about on the street, so someone wandering around with an A7 would hardly be noticed, and that meant Fisherman’s Wharf. Me and my buddy Chris arrived at dusk on a Saturday to explore it with our cameras. As anticipated, the Wharf was swarming with tourists. Perfect for people watching. I always shoot in aperture priority mode, and I’m happy to report that the A7’s shutter speed never dipped below 1/400 the whole time, even when I was shooting inside the Museé Mécanique arcade, where the light is low.

I hope you enjoy these photographs. I had an absolute blast taking them. If you’d like to see more of my work, I invite you to check out my gallery: http://dougfrost.tumblr.com

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Aug 142014
 

My 26 day road trip thru Australia with a Ricoh GR

By Gabriel Lima

Hello everybody!

I’m Gabriel from Brazil and the moment I write this article I’m in the city of Ubud, central Bali, Indonesia. I’m here to talk about my user experience for travel, landscape and long exposure photography using the RICOH GR and filter adapter with B&W ND filters.

First a bit of my background. I’m a 27 year old guy from Curitiba, South of Brazil. After I graduated in a 4 years Business degree in the Uni I realised that it was to boring for me and decided to pursuit 2 old dreams: Travel the world and be a photographer. So, my first steep last year was move to Australia learn english and photography.

My first problem was: Which camera should I buy? Oh god, its hard, there are heaps of models, sizes, sensors, lenses, brands, DSLR, mirrorless and all that history I sure you guys now about. What did I? I immerse myself in review sites and forums searching for specs, image samples and user reports. After long hours and days here in Steve website and searching for samples on flickr I got stuck in 3 cameras: Olympus EM1, Sony A7 and Ricoh GR.

My weapon of choice was the Ricoh GR because it`s small form factor, height, IQ and easy of use. I have to confess that I had to eliminate the Sony A7 cause its price got over my budget and the EM1 because its problem with noisy long exposures in the dark.

After 6 months of practicing with and testing the camera, on 6 of June I left the City of Gold Coast for a 4 weeks road trip sleeping in the back of a small 97 Daewoo hatch from eastern to western Australia, till the city of Perth, a 8000 Km trip always driving the coast and photographing some great Australian spots like the Sydney Opera House, The Great Ocean Road and the Bunda Cliffs. Now I`m in the start of a 2 months backpacking trip thru Bali, Philippines and Thailand.

So, How is the camera doing? How am I feeling about my decision? Even though I still want a Sony A7 (anyone interest in help me? just kidding LOL… Ok, maybe not…) I couldn’t be happier and i’ll tell you why in topics!!!

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SIZE:

Sleeping in a hatch and backpacking with a very small budget means I often have to carry my life on my back city and island hopping, hiking in the forests to a desert beach and even driving a scooter in Asia. The camera is so small that it packs anywhere. My entire kit with a Macbook Air, a MeFoto Backpacker tripod, B&W polariser and ND filters and a Mophie battery pack packs in a small backpacker and height less than 5 kg.

As most of my work is about landscapes i use the camera most at F8 and set to snap focus in the infinite what means i need i tripod most of the time and i found myself walking around Sydney or a forest in Bali with the MeFoto Backpacker with legs extended and the camera attached without any problem (ok, I often get some weird locks from the crowds, LOL).

EASY OF USE

The possibility of having 3 personal camera modes on the top dial is amazing and you can configure just everything there I have MY1 set to auto bracketing AE where i can set the exposure I want in each photo and even the order that the camera take/store the shots for my landscapes, MY2 set to F2.8 shallow exposures for temples, confined spaces or portraits and MY3 with my settings for long exposures. That means i don’t have to go thru the painful long menus of the camera, one of the disadvantages of the high user configuration that the RICOH GR allow, what would make me lost lots of shot opportunities. The camera even allows me to configure 3 other buttons for some functions, I use the effect button for shooter timer(use this a lot to eliminate the need of a non available shutter cable to avoid camera shake, just set for 2sec and everything will be ok), FN buttons for ND filter, snap focus distance or autofocus point and I have every thing I need easy to find.

AUTOFOCUS

The ability of move the focus point with the back dial makes me happy every time I have to compose and not worry about choose the correct focus point in a predetermined matrix during a shot in a confined temple.

SNAP FOCUS MODE

That`s one of the main reasons for me to choose the RICOH GR, just so easy to configure the distance I need and click. So easy, no shooter lag at all, perfect for street photography when you can`t miss the moment.

IQ

I`m very happy with the IQ i get from the RAW files in the Lightroom 5 but I wont talk about that as lots of people already did. The only think is that I felt that I need to expose to the right to get best results and avoid noise.

GW3 HOOD AND FILTER ADPTER + B&W FILTERS (LONG EXPOSURES)

I love for long exposures, specially in rock beaches and i got really frustrated during my road trip in Australia where i missed many opportunities cause the built-in ND filter wasn’t enough to produce good results during the day and I didn’t have the time to wait for the blue and golden hours on every location I stopped. So I got myself a GW3 adapter that fits around the lens and allow me to use 49mm filters in the camera and that changed my life, with the B&W ND 3,0 now I`m able to shoot long exposures and get cool effects from the water almost any time of the day and use a B&W XS-PRO MRC nano circular polarizer that have been helping me to increase the contrast of my photos and eliminate water reflections.

What could be better?

-The camera takes lots of time to process long exposures, almost the same time of the exposure itself, so when I take a 5 minutes exposure it takes more almost 5 minutes to process and show the photo;
-The button that hold the top dial in position got stuck after I felt climbing a dune and the camera got some sand;
-The display drains too much battery and I learnt it loosing an amazing sunset cause I composed the shot and kept the camera on waiting for the sun to set and the last bar of the battery was gone in less than 5 minutes.

That’s  it guys, I hope you like the reading and to help anyone interested in the RICOH GR for travel, landscape and long exposure photography.

You guys can follow my adventures in:

www.facebook.com/gabriellimaphotography

instagram.com/travel_gave – my iphone dairy

plus.google.com/+GabrielLima87/

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Aug 132014
 

roadtripsouthwest2014

OFFICIAL: Southwest Road Trip/Workshop. An Epic Photo Adventure awaits!

NOVEMBER 6th – NOVEMBER 10th 2014 – Antelope Canyon, Zion, Sedona, Horseshoe Bend and more!

UPDATE 08/30/14: Just about SOLD OUT so get in now! This is going to be an amazing, massive, epic trip with a GREAT group of people! I can not wait! Great weather, amazing scenics, and fun and adventure planned for every day. 

As promised, I am posting details for this EPIC workshop/Road Trip that will take place November 6th-10th 2014. FIVE days of events, activities, photography, food, new friends, adventure and fun. I only do one or two of these per year now and only do them when they are done right and offer something special and unique for those who attend. This time, with the help of Todd Hatakeyama and Jay Bartlett I think we put together a wonderful trip that will give you a lifetime of memories and photographs.

We will start out meeting in Phoenix, AZ and will travel via either chartered bus or caravan style (depending on how many want to go on this trip). I am probably more pumped about this trip than any previous workshop I have done over the years. It will be the most scenic for sure, and we will be avoiding the blistering heat by doing it in November.

Breakfast and Lunch will be included (breakfast is included with hotels) but dinner will not be included. Hotels and all transportation will be included in this trip. Sony is also pitching in to this event and will be loaning out various cameras and lenses so we will have them on hand for you to test/use! How cool is that? How about testing an A7s on the sunset Jeep tour we are doing?

This will be a wonderful trip, probably my largest one yet packed with amazingly beautiful southwestern landscapes that you may have seen in photos but never been able to get to and shoot. Horseshoe Bend, Antelope Canyon, Sedona and more.

We will be doing two full on JEEP tours in Sedona. One sunset tour and one during the day with pro guides. We will also be doing a full guided tour of Antelope Canyon.

Below is the full Itinerary.

Zion..

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Steve Huff Photo Road Trip – Southwest USA

All will meet at the Aloft Hotel in Phoenix, AZ on Thursday Nov. 6th. We will depart this hotel at 5PM SHARP on Nov 6th either by chartered bus that will hold us all or via 3 vans. The schedule is amazingly cool and if you have never been to these destinations, it will be jaw dropping beautiful to you. I am in Sedona 4-5 times per year and the beauty there is heart warming. I am telling you now, THIS will be an amazing trip and the photos you will get from it will be worthy of huge wall prints! I will be on hand for any questions or help and Jay Bartlett will also be on hand for instruction (he will be shooting medium format for anyone interested in this).

Price per person will be $1800 for a private hotel room all to yourself. If you want to bring a spouse then price will be discounted to $1300 each for a shared room. Single participants can also book a shared room at the discounted rate of $1300 but you will be sharing a room with someone else. 

This price will include hotel and transportation for entire trip, breakfast, lunch, tours and instruction. The only thing NOT included here are the DINNERS as everyone has different tastes in food and drink, so we did not want to put a limit on the food for dinner, and some may be tired and choose to eat in their room. Will be up to the individual for dinner but we will have group dinners for anyone  that wants to join in. Hotel stays are all included as is every single tour. All you have to do is get to Phoenix, AZ on the 6th of November and we will take care of the rest. 

Our bus for the entire trip. Yes, we will be riding in comfort and style :) 

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*We can also pick you up from the airport if needed but you can NOT be late as we will leave at 5pm sharp on the 6th from the Aloft Hotel*

Day 1 (Thurs, Nov 6)
5:00pm Depart Aloft Phoenix Airport Hotel
7:30pm – 9:00pm Dinner in Flagstaff
11:00pm Arrive at hotel in Page, AZ

Day 2 (Fri, Nov 7)
7:30am – 8:30am Breakfast at hotel
9:00am – 12:00pm Antelope Canyon Photography Tour (this will be a professionally guided tour)
12:30pm – 2:00pm Horseshoe Bend
2:00pm – 3:00pm Lunch in Page
3:00pm – 6:00pm Drive to Zion
6:00pm Arrive at hotel in Springdale, UT
7:00pm – 9:00pm Dinner in Springdale

Day 3 (Sat, Nov 8)
7:00am – 8:00am Breakfast at hotel
8:00am – 6:00pm Zion hiking (lunch in the park)
7:00pm – 9:00pm Dinner in Springdale

Day 4 (Sun, Nov 9)
7:00am – 8:00am Breakfast at hotel
8:00am Depart Springdale
1:00pm – 2:00pm Lunch in Flagstaff
3:00pm Arrive in Sedona
4:00pm – 6:00pm Sunset Jeep Tour 2 hours (these are AWESOME and will take us into places you would have never even knew existed)
7:00pm – 9:00pm Dinner in Sedona

Day 5 (Mon, Nov 10)
7:00am – 8:00am Breakfast at hotel
9:00am – 12:00pm Scenic Rim Jeep Tour 3 hours (another amazing Jeep tour, off road, hills, crevices, and all kinds of cool things to see as well as getting out and exploring)
12:00pm – 1:30pm Lunch in Sedona
2:00pm – 4:30pm Drive back to the Aloft Phoenix Airport Hotel

Antelope Canyon

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How to Sign Up

As you can see, this trip will be rocking so I hope to see many of you there with me! I am looking forward to this one and counting the days. If you want to sign up, and want in 100%, then make sure to do so quickly as these events tend to sell out quickly. The last one at Valley of Fire sold out fast and this one is an even better trip. That is not marketing hype, it is reality. Last trip we had to turn a few away as we sold out. If you want in, email me here and I will give you instructions on how to pay and set your reservation!

Driving into Sedona..

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Aug 132014
 

A Pair of Fujis in Paris

By James Conley

France’s importance in the history of photography cannot be overstated. Some of the most significant documentary images in the history of photography were made in Paris, and it was the home of photographers like Henri Cartier-Bresson and Robert Doisneau. Today, the city is full of commercial galleries dedicated to photography. During any given week there are dozens of elaborate exhibitions and public displays of images. Photography is respected as an art, and it is actively promoted. Indeed, France is home to Jean-François Leroy, the founder and sponsor of Visa pour l’Image in Perpignan. Paris is at odds with itself, however. It’s an easy city to shoot, but a frustrating city to shoot in.

~First, the backdrop.~

Paris is divided by the Seine. The right bank is to the north, and the left to the south. The left tends to be rather rich (read: touristy) and the right bank tends to be more artsy (and frequently seedier). The right has interesting places like the medieval-streeted Marais, and the left was Hemingway’s stomping ground. The right is hillier, the left flatter.

Regardless of where you go, though, Paris is a victim/beneficiary of Georges Eugene Haussmann. Until the middle of the 1800’s, Paris had the same structure as it had during the Middle Ages—small, interwoven streets and cramped buildings. In 1794, under the influence of the miasma theory of the day that the tight quarters were the cause of illness, a Commission of Artists came up with a plan for redoing the streets. Nothing happened with the plan until Louis-Napoléon Bonaparte became emperor in 1852. He wanted the government to better control a capital where several regimes had been overthrown since 1789, and wanted wide avenues through which to move troops.

Napoleon III tasked Haussmann with reurbanization, and gave him broad powers to implement the plans. Haussmann used that power to seize property, require owners to make changes to building facades, and to completely level and rebuild parts of the city. Haussmann defined the maximum height of buildings, and their features—including balconies and roof pitch—was mandated. Neighboring buildings had to have floors at the same height, as well as matching exterior lines. Quarry stone was mandatory along the avenues. Wide boulevards, landscaped gardens, and monuments were designed to frame France’s imperial history. The plan and its result made the city look like an extensive palace.

What all this means from a photographer’s point of view is that the city provides a fetching backdrop for almost any picture, no matter what part of the city you’re in. It also means that no matter what part of the city you’re in, it runs the risk of looking remarkably like any other part. The buildings are beautiful in their own way, but they lack individuality. It’s as though Disney had the power to reface a major city.

Paris has some of the worst traffic of any major city. Cars are numerous, but mopeds and motorbikes are a close second. They are everywhere. Vehicles clog the streets and they park in any available place. Because of the chaos of so much traffic, Paris has placed a seemingly infinite number of three-foot tall poles to block walkways from vehicle parking. Parking on the streets is relatively unlimited, however, and there is almost no street that doesn’t have cars or mopeds lining it. This means that nearly every street scene will be blocked by either a pole or a vehicle.

Light is also an issue. Paris is a very northerly city. It is on a latitude similar to that of the U.S./Canadian border. In the autumn, this means that the sun is low in the sky, but it’s very bright. Shadows are strong, and highlights are glaring. Dealing with the contrast is not an insignificant challenge. Partly overcast is a friend to the limited dynamic range of a digital sensor.

Most of the traditional sites are worth seeing, even if their inspiration to make images is low. The Eiffel Tower is impressive. The Louvre is stunning. (Outside, at least. I think the Met is better curated, regardless of the difference in volume.) The city’s elaborate gardens are interesting and relatively attractive, if a rigid approach to horticultural design appeals to you. The streets are obtuse and there is no grid, which makes for convenient backdrops. The Latin Quarter and Ile Saint Louis stand out as particularly photogenic. As discussed below, however, many of the sites aren’t accessible to photographers. For example, Sacre Coeur doesn’t allow photography inside, nor does the Shakespeare & Co. bookstore. The Louvre, however, does. Most storefront businesses do not allow photography—including of the street. Most people out on the street will wave you off if they see you taking pictures.

~Second, the law.~

Contrary to France’s very welcoming approach to photography as art, it is also the home of two laws which restrict it: Droit d’image and La Loi Vie Privée. Basically, a French citizen can sue a photographer for using any image which includes the citizen or his property in the picture.  So, for example, you see an interesting farmhouse in Versailles. You snap a picture, and then want to use it on a blog which has advertising from which you profit. Unless you have the written permission of the owner of the property, under French law you can’t use the image. And what if the property gets sold later? That’s right—you have to get the new property owner’s permission.

The law against using someone’s likeness commercially is not particularly different from the protection other countries provide: you can’t associate someone with a commercial product without a model release. The French people, however, generally fail to understand that taking pictures of someone in a public space and using it for an artistic or editorial purpose is allowed. The French assume they have the right to interfere with all photography.

This confusion has led many photographers to avoid France, and to not publish their work in France. Whether or not these laws would be enforced against a particular photographer with a particular image, it certainly casts a pall over the desire to make images.

~Third, the people.~

Paris is a busy city. The streets are full of a variety of shops. People live in the city, and despite their cars, they shop very locally. The Haussmann design leaves little interior space for working at home, so people are out and about. Cafe tables are plentiful, and people loiter for hours working or talking. Pedestrian traffic is heavy, as is bicycle and motorized transport. Shops tend to close around 6 p.m., but cafes and restaurants are open later.

Despite (or because of) the number of tourists, people tend to be fairly aware of photographers. More so than in cities like New York, Parisians seem to be constantly on the lookout for someone taking a photo. There are few smiles in Paris, and even fewer when a camera is around. Shopkeepers will confront you if they even see a camera. They’ll also come out of the store if they see you taking pictures in the street. Signs forbidding photography are everywhere.

Outside of stores, the people on the streets are less confrontational, but it’s wise to be aware and not push the issue. It’s best to follow the fancy footwork of Cartier-Bresson and blend blend. He was a master at taking photos fast, with his subjects unaware they were being photographed. Zone focusing and the use of the rear LCD display on cameras so equipped is required practice. Waiting in the right spot for the right time is also handy—people get used to your presence and pay less attention.

~The Fujis~

I took an XE-1 and an X100s to Paris for two weeks. and racked up over 100 miles of walking around the city and its environs. I shot with two lenses on the XE-1: an 8mm Rokinon and 18-55mm Fuji. The X100s has a fixed 23mm. I found the Fuji X cameras to be very adept at the kind of speed required for Parisian street photography. The small bodies go unnoticed, and as mirrorless cameras the Fujis are quiet. The X100s is particularly easy to adjust for zone focusing and is virtually silent. The rangefinder style X series in general are well-suited to be quick to the eye, making stealth shooting easier.

Like any city, the best way to approach Paris as a photographer is to walk. There are opportunities for images on the plentiful buses and metros, but the action (as always) is out on the street. Having lugged 35mm and DSLR equipment for more years than I care to remember, the small and light Fujis are much easier on the shoulder and the back for extensive city walking.

Paris is a great city. The air and the water make delicious pastries and bread. The streets are picturesque, and there are interesting places to see. The art is impressive and ubiquitous. It’s worth a visit to the galleries and museums. But it’s a tough city to work in. The people are not friendly to photographers, and the traffic and poles make it a challenge to find a clean foreground, much less a background. The pollution is horrendous, and the noise is incessant. The most photographed places are the most accessible, which means being original is not just a challenge—it’s risky. Having a street confrontation in a foreign language does not a good trip make. But Paris is worth the challenge, and forewarned is forearmed.

website: fjamesconley.com
twitter: @Philatawgrapher

—James

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A woman on the Paris Metro reads among a plethora of geometric patterns.

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Waiters take a break outside a cafe in Paris.

A Parisian couple has an intimate moment by a window.

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Aug 122014
 

Copenhagen with the Leica M 240 and 50 APO Summicron

by Howard Shooter

Copenhagen is a difficult city to shoot. The buildings are spotlessly clean and beautiful, the roads are spotlessly clean and beautiful and guess what…the people are spotlessly clean and beautiful.

This presents the street photographer with a problem; no urban decay, no old men with interesting creases which tell the story of their lives and therefore no photography which is focusing on the contrast of modern society. Denmark, like their most famous invention, Lego, is designed beautifully.

My wife and I managed our lucky annual weekend away without our gorgeous children to have a little of us time leaving our three children, happy as could be with the grandparents.

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Copenhagen is famous for Hans Christian Anderson’s “The Little Mermaid”, Canals that look like they are straight out of Amsterdam, (as a result of the Dutch building some of them), interior shops, posh designer food, beer beer beer, bicycles and a design ethos which is evident everywhere.

I was looking forward to using and testing my newly acquired Holy Grail of lenses, the Leica 50mm APO Summicron with the Leica M240.

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These shots are a miss mash of images and colours taken from around the city. I didn’t take hundreds of shots as I was there to relax and soak up the atmosphere rather than document it but I was pleased and I’m still learning all the time what this lens is capable of. I feel I always need about six months to a year to understand a lenses characteristics and this little gem is no different.

Now I think this is a lens which once purchased needs some financial justification as it is stupidly priced. I am not rich, I am quite sane (sometimes), and I am not a man who easily jumps on bandwagons. However I am a professional food photographer, I did sell two lenses to help pay for this piece of glass and I do use the Leica for the odd professional celeb chef portrait when the opportunity arises. I had ordered one of these, cancelled it and then six months later wanted to see what all the fuss is about.

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I think with lenses there is a misconception about what quality is all about when all of these graphs and charts and grids are produced by scientists who are comparing various tolerances across various apertures. I’ve seen enough shots of bookcases and scenes of toys with colour charts to last me a lifetime. Lenses are not solely about sharpness and yet this lens is sold partly because of its incredible sharpness. This, in the grand scheme of things definitely isn’t the main part of this lens that interests me. I did have a Leica 50mm Summilux and on the M240 it does display a little softness but it is a beautiful, quiet lens displaying subtlety and beautiful bokeh which is arguably nicer than the 50mm APO.

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What this lens does better than any other on the M240 is incredible dynamic range to the point where shots properly look like medium format film. The bokeh is nice but not incredible in my opinion, but the 3D pop combined with the sharpness and dynamic range is remarkable. It gives this lens a versatility like no other. Images can be deliberately overexposed and look subtle and beautiful without the whites bleaching out, and yet dark shots are rich and saturated with black blacks and eye popping colour. Black and white converted RAW shots look so authentically Bressonesque in their tonal values that the digital Leica feels like it has come of age.

The big question surely is “is it worth the money?”….. well for me it makes using extra lenses on the Leica seem superfluous and to that extent if you have a few lenses and traded up to the 50mm APO you wouldn’t be disappointed… I wasn’t… but blimey…. how much!

Howard Shooter

www.HowardShooter.com

Aug 122014
 

Traveling in France with My Leica

By John Ferebee

Bonjour Brandon and Steve!

After planning and saving for a couple of years I was able to travel to France for 10 days in July. I wanted to travel light with no checked baggage. The summer weather made clothes selection pretty easy. No checked baggage wasn’t an issue of cost but one of convenience. Once arriving at De Gaulle you’re traveling isn’t over. There are several ways to get into Paris and they all involve long walks to taxi stands, the train station, or shuttle. One rolling bag makes it easier. If you plan to leave Paris and travel by train to other parts of France one bag is also much easier.

The harder decision was what photo equipment to take. Point and shoot, 35MM film, medium format film, digital full frame, lenses, filters, etc. I guess we all go through that unless it’s a driving trip. That one is easy – everything goes. I have read Steve advising “one camera one lens” and as hard as it was I almost did that. I even left the tripod home knowing that there would be some shots missed.

After thinking it over, my kit was a 21MM Super Elmar, Leica M6, M9 for Paris, Normandy, and the Loire Valley. Although there were times when I wished I had this or that, it worked out just fine. I chose the Super Elmar because I was interested in landscapes and the wide-angle would work well with streets, bridges, rivers, valleys, and the beaches in Normandy. The quality of the lens is so good I could crop if I needed a close up. Being able to use one lens with both cameras was another factor.

I experienced several rainy days and used the M6 with TriX for B&W and I didn’t worry as much about getting it wet. Some might want to know about a wide-angle view finder. I don’t have one but if you use the 21MM regularly you don’t really need it. One of the nicer things about this simple kit, or one like it, is you see more of the country because your head isn’t in your camera bag all the time. I did learn a few things. I’m going to buy a light-weight travel tripod that will fit into a carry-on bag. The Seine River at first light, Paris streets at night, and Chateaus along on the river Cher cried out for long exposures. That being said, there are creative ways to deal with low light. Increasing the ISO is the obvious one but you can use all kinds of things to stabilize your camera like chairs, window sills, lamp posts, and car hoods for example.

I took four 8G Raw Steel SD’s for the M9 and rotated them during the trip but I wish I’d taken my MacBook Air. I could have done some basic editing, weeding out, and labeling of photos during down times on the trains, hotels, and the 14 hour plane ride home. It would have saved a lot of time after my return from France. The Air would have fit in a slightly larger bag. I took the Think Tank Mirrorless Mover 30i and it held cameras, lens, film, batteries, passport, tickets, kindle, iPhone, chargers, and adapter plug (don’t forget one of those) but it wasn’t big enough for the laptop.

Here are a few photos with brief commentaries from the three areas I visited.

Eiffel Tower in the rain. Lightroom spot remover took care of all the drops.

Eiffel Tower in the Clouds (1 of 1)

The Arc at Night. Used a light pole for stabilization.

Night Arc (1 of 1)

The Red Hat. Took a few street shots but it isn’t my thing but Paris is a terrific place for it

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Loire Valley Morning. Camera was on the window sill of our room using the timer

Loire Vally Morning (1 of 1)

Rue St. Jean in Bayeux. Set the camera on the street and used the timer

Rue St Jean Bayeux (1 of 1)

Loire Valley countryside

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Omaha Beach monument honoring soldiers who pulled wounded to safety

Omaha Beach Monument (1 of 1)

The American Cemetery honors 9,387 and is impeccably maintained

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If any of your readers have an interest in seeing other photos from France they can visit My Photo Site

Thank you!

John Ferebee

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