May 192016
 

howtour

How to submit a User Report or Daily Inspiration!

Hey guys! Happy Thursday! Many have been e-mailing me lately asking how to submit a review, report or daily inspiration. It’s easy!

If you want to share with a huge photo community right here on STEVEHUFFPHOTO, all you have to do is have your report written up, some images, and then to email them to me at [email protected] with the subject line of “USER REPORT”. You can include links to your website, social media or wherever. Images should be no larger than 1800 pixels wide and no smaller than 680 wide. You will get exposure for your website, blog, or social media. Your report can be on ANYTHING related to photography. A review, an essay, or a personal project. A gadget, gizmo or accessory. A story about your personal journey. What inspires you?

So if you want to submit a report or review email me HERE. 

For a Daily inspiration, just send three fave photos of yours, an explanation of them and what gear was used. Email those to [email protected] as well with the subject line “DAILY INSPIRATION”.

To read more details about submissions, see HERE for User Reports and HERE for Daily Inspirations! 

Thank you all!

May 172016
 

My thoughts on the Fuji X-Pro 2

by Mohamed Hakem

Hello Steve,

I’ve been trying the Fuji Xpro2 for a couple of weeks and have real images with my final word that thought of sharing it with you.

MY WEBSITEhttp://www.hakemphotography.com  – FACEBOOK: http://facebook.com/hakemphotography INSTAGRAMhttp://Instagram.com/moh_hakem

I can now say that I’ve used the Xpro-2 in many situations: I’ve used it casually, for taking pictures of my friends and family, in professional photo sessions, under the rain and in the desert were it experienced hard dusty conditions,  What I can say is that it is the best fujifilm camera Out there. It is very responsive, fast and quick. As you have already noticed I didn’t speak much about the specs because I am not a fan of evaluating a camera by its numbers! great pictures are not taken by higher spec camera. If you understand the Fuji approach which is a camera that you will love to use and will reward you with excellent image quality rather than going into a pointless technical race. Now the Auto focus is on the DSLR level, not the pro ones but still very good, For me I will wish nothing more than that.

image5

The New Sensor is 24MP and this is in my opinion is the sweet spot in the MP counts. I’ve tried Higher than this (36MP and medium format) and I see no reason to have higher than 23MP. 16MP was very good and having a 24MP is the highest that I would want… for now.

I have used the camera in a photo session and the colors were absolutely amazing. the quality it produces really shortened my post processing time. Black and white out of the camera is beautiful! I bet if any one would ever retouch a black and white afterwards.

the ISO performance is fantastic, a little grainy but higher in details, it won’t give you the melted look of the extreme ISOs of the XT-1.

image4

image3

image1

for me this is the best camera and would be my primary one

image7

The Pros:

-Perfect Image Quality

-Very good Auto Focus

-Fantastic Buttons Layout

-Hybrid view finder is very good – still the X100T is better

-Dynamic Range is very ..very good

-The Camera is responsive – you won’t feel a difference if you are coming from a Pro DSLR

-JPEGs out of the camera are the best of all

-In Camera filters are very useful

-And of course the things that Fuji are already famous of (build quality/Size/looks/etc..)

The Cons:

– No tilting screen! the back LCD in the mirrorless world proved to be used by professionals! we were just not used to it due to the DSLR limitations. Now the tilting screen is being used in many applications. I personally use it in landscapes and sometimes in street like shooting from the hip technique.

-Battery life, mirrorless are known to have this drawback. in the XT-1 the camera made around 300 pictures per charge. with the XPRO2 the usage became more and it is around 250. To be on the safe side during assignments I usually have 4-7 batteries!

May 172016
 
x2t

x2t

The Fashionable X-Pro 2

by James Conley

Hi Steve and Brandon. I wanted to share a fashion editorial with you, and my experience using the Fujifilm X-Pro2 in the studio.

For a few years now, I’ve relied on Fujifilm’s X-Series as my workhorse system for documentary, street, and travel photography. Originally working with an X100s and an X-E1, I’ve now added the X-Pro2 to the stable. (These days, the X-E1 is a backup body.) However, for studio work I’ve continued to rely on Canon.

Studio work involves different kinds of habits from those of the photojournalism I usually do. The thought process in working with lights, settings, models, and scenes is nearly quite the opposite kind of thinking required to capture unfolding moments on the street. Studio work is slower and more deliberate, and the distractions of the equipment cannot be avoided, with each shot requiring manual adjustments of light stands and strobe settings.

For studio thinking, I always found a Canon DSLR a good match. The studio is about controlling light, and it’s often a dim place to work. Seeing directly through the lens is not only easier in low light, but it also makes me feel more connected to the model. Fleeting expressions are easy to catch, and small framing adjustments are quickly comprehended when looking through an SLR.

The X-E1 was impossible to consider for the task. The slow refresh rate of the EVF is very frustrating in low light. The X100s was too limited with its lens options (even taking into account the WCL and TCL). Its EVF suffers the same problems as the X-E1, and the rangefinder is not an acceptable solution because of parallax issues. So it was Fuji on the streets, and Canon in the studio.

XPRO5459 XPRO5342 XPRO5326 XPRO5518

With time, however, the Canon system has shown its age. Not the least of the frustrations is a limited number of focus points. Especially when shooting with wide apertures, “focus and reframe” can introduce a host of issues. There are also issues with low light performance. Working with an SLR, it is much harder to tell if the focus is correct in low light, and many times it isn’t.

Newer Canon bodies have more focus points and better low light performance, but that necessitates buying a newer body. I have a substantial investment in Canon glass, but unfortunately the technology has left them behind and there are many frustrations with focus speed and lock on. What was a great L-series lens a few years ago is now a slow-focuser with a lot of chromatic aberration.

With the X-Pro2 in hand, I finally had an option. The EVF is fast enough not to be a distraction, and the low light performance is excellent. Faced with the choice of upgrading the Canon system or testing the X-Pro2, it was easy to decide to get the Fuji hooked up to the lights see what would happen.

XPRO5687 XPRO5750 XPRO5594 XPRO5766

My approach to studio light is very simple: one or two Paul Buff lights, with a variety of modifiers. The lights are on radio triggers, with a transceiver on the camera. I shoot the camera in manual, and make adjustments to the lights as needed to achieve the exposure I want.

The first problem came when the radio triggers wouldn’t trip the light. Investigation into the issue led to no satisfying answers. I’ve used Yongnuo 603Cs for years with no issues. My first fear was a hotshoe issue with the X-Pro2. (In the past, I’ve found that Canon studio accessories worked with the Fujis.) Forging ahead, though, I made the assumption that the issue was with the Yongnuos and not the X-Pro2, and purchased a set of RadioPopper receivers and a transmitter. They worked straight out of the box with not a single misfire, so I’ve concluded that the pins on the Yongnuo 603C’s aren’t correct for the X-Pro2.

Although a stressful one, the trigger issue turned out to be the only issue. The X-Pro2 is a delight to use in the studio. The EVF gets out of the way, and there were very few focus issues—and only when there were a lot of shadows. The sensor on the X-Pro2 is fantastic, and gives a very film-like quality to the images, with incredible amounts of latitude.

Getting the X-Pro2 set up for studio use is short work:

set the shutter speed to 1/250th
set the ISO to 200
turn Preview Pic Effect off
turn the flash mode to on

Manually set the aperture, and away I go.

I’m looking forward to continuing to use the X-Pro2 in the studio. Even more, I’m looking forward to not having to buy a new Canon!

More images can be seen on my website: http://f-eleven.com, and on Instagram: @philatawgrapher

May 122016
 

Blast from the past – Kodachrome 25 revisited

by Jerry Melcher

Brandon and Steve,

Believe it or not I have been playing around with a select set of Kodachrome ASA 25 slides from a series of vacations taken in 1984. The images that pop out at you in a small slide viewer or on the screen from a Leica projector are very difficult to capture in a display monitor much less print.

Little Yosemite_from Glasier Point

So about 10 years ago I began a journey to process my old pics. I cannot tell you how many articles I read, how many types of scanners I’ve tried and services I’ve paid for. On top of that every time a new piece of imaging processing software showed up I had to pull out the set of Keepers and rerun them. Anyway I hope you find these 3 shots from Yosemite enjoyable. I will also provide over the coming months examples from Ireland and England also from 1984.

Three Brothers Yosemite Valley Oct1984 Sentinel Dome Jeffrey Pine 1984

All shots taken with a 1982 Pentax ME Super with 28mm lens. The last two images scanned at West Coast Imaging on a Heidelberg Tango. Kudos to them.

” . . .Momma don’t take my Kodachrome away.”

Jerry Melcher

May 122016
 

Zeiss 85 Batis Review

by Richard Pickup

I have been lucky enough to try out the new Zeiss Batis 85mm lens for Sony FE mount in recent weeks, and the other day it accompanied me on a trip to the Natural History Museum in Oxford. This seemed like a good occasion to use the Batis with some purpose and also to organise my thoughts on the lens so far.

DSC_7066

The Natural History Museum is a fine place to explore photographically. They have a relaxed and inclusive approach to their audience (photographing is not frowned upon as in so many venues now; they provide portable chairs so as to allow folks to sketch the collections; there is no entry fee), and light streams in from the fabulously ornate iron-clad roof. A stunning collection of specimens, including huge dinosaur skeletons and all kinds of stuffed animals, positively begs for a monochrome treatment. (This may just be me though: I can’t get the fabulous scene from the museum in Chris Marker’s film The Jetty out of my mind. Well worth checking out if you don’t know it, as it is made up of a sequence of beautiful stills put together to feel like a movie.)

DSC01714

DSC01704

DSC01696

As is now well known in the industry, Zeiss has been putting considerable resources into its partnership with Sony and has produced some much lauded lenses for the Sony A7 camera range. I have used the Sony / Zeiss branded 55mm f1.8 quite extensively and it is a superb lens; small, light, built like a tank, and sharp wide open but still full of character (I evidently have a thing for Sonnar designs, see a previous post).

I was in for something of a culture shock when I attached the new Batis 85mm to my mirrorless A7 Mark II. It is not so much a heavy lens (at 475g), as a bulbous one. Immediately one begins to question whether the whole ethos of the mirrorless format has been compromised by adding such a form – inevitably this makes the setup seem much more DSLR-like. My take on this is that there is still a considerable advantage in size and weight over DSLR equivalents, although I expect some will see this differently. I am in the process of investigating 85mm as a focal length, and so cannot say definitively whether I am committed to it yet. I suspect that if I adopt 85mm fully, I could be quite happy accommodating a lens that is a little more bulky than I would like, especially if the results warrant it.

DSC_7074

The sun streamed in as I walked around the Museum and set about the task of putting the Batis through its paces. I attached the lens hood to guard against flare, something which approximately doubles the size of the lens. With my camera strap wrapped around my wrist, I could easily hold the A7II in one hand. When shooting, my left hand had a good deal to hold onto, making the whole setup feel very balanced, and this despite the fact that the camera is visually dwarfed by the lens. The Batis has a sleek and smooth shape with very comfortable ergonomics. It has a rubber focus ring which I really enjoyed using for fine focussing.

This is hardly a full and scientific lens review, however I did endeavour to use a range of apertures in typical shooting situations. The Batis is arguably designed as a portrait lens and f1.8 at close distances produces very smooth out of focus areas and gives nothing away in terms of sharpness at the centre. This is clearly an area where modern lenses now excell: the old advice to stop down an aperture or two to achieve full sharpness is less and less relevant (although generally one will have to pay for this privilege, and the Batis is not a budget lens).

DSC01718

DSC01761

DSC01770

Utilising the reach of the 85mm and engaging middle apertures brings sharpness across the frame, as one would expect. I noticed some difference in critical sharpness between f9 and f11, so I would be inclined to use f9 as a limit for bigger prints. As ever, there are a number of variables at play here, so I do reserve judgment on this pending further tests and more accurate data. As ever, I found the viewfinder zoom facility on the A7II along with manual focussing to be a boon for getting focus spot on.

Examining my images from the Museum on Lightroom, it was immediately clear that this is a lens with significant edge distortion. Happily, Lightroom has a corrective profile, and so this is not an issue for me. I know that some people object to such apparent flaws in what is after all a high quality prime; my understanding is that lens designers work with a series of trade-offs to produce the qualities they desire for a specific lens. This is a lens with a distinctive (and to my eye pleasant) character, and as I have already mentioned the designers clearly have people shots in mind. I have made a very beautiful colour print of my son using Hanhnemuhle Photorag paper, which clearly show the strengths of this lens for portraiture. If I didn’t already own some top class portrait lenses, I would surely invest in a Batis for this alone.

DSC01784

DSC01796

DSC01809

In summary, this is a very high quality metal lens which feels robust and has sound ergonomics. While my imagination gravitated towards black and white for my Museum trip, the Batis has a notably ‘Zeiss’ colour signature, with humming blues and intense reddish browns. At f1.8 the lens is already very sharp, and it produces sumptuous out of focus areas. The tonal transitions it produces are attractive to my eye, and while this may be entirely subjective, a little more analog-looking than those produced by some lenses for digital. This is a thoroughly modern lens with some traditional mores: when the camera is switched on a luxurious black and white LED glows a proud ‘ZEISS’, before displaying very accurate depth of field information. A boon to some users I’m sure, but perhaps not me.

As I mentioned above, I am still in the process of investigating the 85mm focal length. What I do now know is that if I settle on it, I will be very hard-pressed to give up the Batis. In any event, I for one am happy to see such a lens being added to the ever increasing options for Sony mirrorless.

 

May 092016
 
OLYMPUS DIGITAL CAMERA

The OLYMPUS PEN F Experience

PEN-F-SLV_left_M75mmF18_BLK_ECG4

By Thomas Ludwig of COSYSPEED

Thanks Steve for the opportunity to share my thoughts about the PEN F on your amazing blog. You are doing super great work and I feel inspired everyday!

It’s a sexy little camera, the PEN F. Many would use it as a street photography camera and that’s the way I wanted to review it. My focus was also on the way it fits into a CAMSLINGER bag and how this combo works on the streets.

JPGs out of cam are extremely good, so I didn’t touch the RAWs at all. All images in this review, except product images, are straight out of cam, shot in Monochrome Mode II with added grain and vignette. That’s the way I would have processed them in Lightroom.

FACES – The OLYMPUS PEN F in Lübeck/Germany

OLYMPUS DIGITAL CAMERA

The PEN F in the Streets

Some days ago I got the chance to test the new Olympus PEN F together with some Olympus prime lenses and I was curious to see how it performs. As many others like Steve have already mentioned all features of the PEN F in their reviews, I will only focus on street photography with the retro stylish micro 43 camera – of course to my personal needs and habits.

When shooting on the streets most important to me is image quality and focusing abilities. And so this review is mainly focused on these points. In fact it ended up being a PEN F / Monochrome Mode review, as I liked the JPGs right out of the cam.

For those of you who don’t like to read long texts: The PEN F is a timeless designed camera, that you will enjoy for many years. In my eyes it is already iconic, just like it’s forefather PEN F from the 70’s. I enjoyed using it every minute especially because of the JPGs that I could use without editing – this gave back HUGE fun to my style of street photography.

 OBSERVED

OLYMPUS DIGITAL CAMERA

The setup

Olympus PEN F | Olympus 12mm/F2 | Olympus 17mm/F1.8 | Olympus 45mm/F1.8 | Spare Battery | Olympus Macro Converter

All packed in a CAMSLINGER 160 with STUFFBAG 30

CAMSLINGER 160 and PEN F

003 CAMSLINGER 160 and PEN F

BEAUTIFUL GRAIN and NICE LOOK – All images in this review are shot in Monochrome Mode II with Grain and Vigenette added. This was made all in cam.

OLYMPUS DIGITAL CAMERA

TIRE and WOOD
NICE DETAILS and RICH TONALITY – The new sensor in the PEN F delivers plenty of detail. Tonality of the Out Of Cam JPGs is simply great!

OLYMPUS DIGITAL CAMERA

Image Quality

Actually I had only two full days of street shooting with the little Oly. So I went to Lübeck in my neighborhood, a city next to Hamburg/Germany. I shot in RAW and JPG, while for JPG I used the Monochrome II filter, added some vignette and grain – all IN cam which is absolutely great. I would have converted the RAWs this way in Lightroom and so I was keen to see how the JPGs would look like on the screen of my PC. And they looked great! That great, that I even didn’t touch the RAWs. So all the images in this review are out of cam without ANY editing. To me this worked 100% to my taste. High ISO? This is an overrated point IMHO, nevertheless the PEN F delivers very well images up to ISO 3200 and if used in Monochrome Mode with Grain, you can go higher without any problems.

Besides the cool design of the cam this is maybe the strongest point of the PEN F in my opinion – beeing free of editing and post processing and getting what I want right out of the cam.

SOMEDAY

OLYMPUS DIGITAL CAMERA

CHURCH

OLYMPUS DIGITAL CAMERA

OUT OF THE LIGHT

OLYMPUS DIGITAL CAMERA

SPRING

OLYMPUS DIGITAL CAMERA

TUNNEL

OLYMPUS DIGITAL CAMERA

Handling

The PEN F handles very nicely. Due to a missing grip, it is maybe not as comfortable to hold as a SONY a6000 or LUMIX GX8, but there’s an optional grip available if you need it. To me it was absolutely fine. Especially because the PEN F feels very premium and it’s a pleasure just to hold it in your hand. All the dials feel durable and solidly made. The UI with so many physical controls needs some time to get used to, but as soon as you know where all functions are, it makes photographing much easier.

The design reminescense to the original PEN F from the 70ies is especially visible with the silver PEN F model. Look at these lovely curves and lines!

PEN F

011 PEN F

Focusing in the streets

I’m using mostly three focus methods when in the streets:

#1 – Single point auto focus
#2 – Continuous auto focus with subject tracking
#3 – Hyperfocal focusing

#1 – Single point auto focus

The auto focus of modern micro 43 cameras is so quick, that to focus and to trigger is almost one process. And so I was using single point auto focus most of the time and with moving subjects I had about 95% in focus, even when using the little 17mm/F1.8 wide open. The focus of the PEN F is insanely quick and accurate in single point mode. To me there was nothing left to desire.

WHAT DO YOU THINK – Single Point Auto Focus works amazingly quick and accurate

OLYMPUS DIGITAL CAMERA

#2 – Continuous auto focus with subject tracking

Actually this method seems to be the most charming. Set your focus point and the cam will track it until you press the shutter. However continuous auto focus with subject tracking turned out to be not very effective on the PEN F. I’d say that 50% of my shots were out of focus. I guess this is a firmware problem and can hopefully be fixed in the future. However focus is not all!

WELCOME TO THE GYM – Not in focus but I like it anyway

OLYMPUS DIGITAL CAMERA

#3 – Hyperfocal focusing

Set a distance in manual focus mode and just trigger, when you think your subject is in the frame as you like it. Sounds easy but in fact hyperfocal focusing is tricky if you like to get some DOF. The more you open the aperture, the thinner is the in focus area. The day in Lübeck all images where more or less out of focus, when using this method because I was shooting wide open all the time. If set to F10 I’d say 99% would have been in focus. I know now, that I have to improve my skills :-)

The OLYMPUS 17/1.8 and 12/2.0 are very well suited to this focusing method, as they have a manual mode with distance scale!

ROSARY, MISHABA or MALA – Hyperfocal focusing wide open is difficult

OLYMPUS DIGITAL CAMERA

The PEN F in a CAMSLINGER

A CAMSLINGER bag is all about quick, single-handed operation and designed to wear at the hip. I fixed the included FINGERCAMSTRAP to the cam and was able to grab the PEN F within a second out of my little bag. But the On/Off switch is on the left side of the PEN F and so one needs always a second-hand to turn it on. As soon as you have a coffee in your left hand or fix yourself while standing in a shaking subway with one hand, then you could of course access and draw the PEN F quickly out of the CAMSLINGER, but not take a photo. So I never switched the cam off and had it always in stand-by in my CAMSLINGER. This may cost a bit of battery power, but fixed my little problem easily.

CAMSLINGER 160 and PEN F 015 CAMSLINGER 160 and PEN F (1)

015 CAMSLINGER 160 and PEN F (2)

015 CAMSLINGER 160 and PEN F (4)

015 CAMSLINGER 160 and PEN F (5)

Carrying the PEN F and gear in a CAMSLINGER at the hip, is extremely comfortable. As your upper body is free of belts and straps, your neck will never hurt. In fact it is almost as quick to grab your cam, as it would be with a sling strap – but the PEN F was always protected, when not in use. I prefered to use the slimmer CAMSLINGER 160 then the more space offering CAMSLINGER Streetomatic. The 160 is just perfect for rangefinder styled cameras like the PEN F.

THOMAS IN LÜBECK WITH CAMSLINGER AND PEN F

OLYMPUS DIGITAL CAMERA

Conclusion

The PEN F is a marvelous piece of camera design and delivers stunning images. It’s technology is up-to-date and will be for many years. I’m hoping a firmware update will lift the tracking abilities on the professional level of the OLYMPUS EM-1, because this is a feature that makes street photography much easier.

The possibility to get final results right out of the cam is pretty cool and gives a further kick to the fun I had with the PEN F. So just go out, shoot and come back with images that are simply ready – to some this is might be a game changing benefit!

The PEN F is one of these rare cameras that one will use for many years and so a good medicine against G.A.S. :-). The timeless design and great build qualty makes a camera that is simply gorgeous! If you are looking for a street photography camera – go for the PEN F!

 

Reference: COSYSPEED

B&H PHOTO: COSYSPEED BAGS

FROM STEVE: Thanks Thomas! Many of you may not realize I met Thomas in Las Vegas a couple of years back where we shot a Street Shooting video. Thomas is an amazing man and he has a great passion for photography, that was very clear when we met. Below is the video we shot while there, was a great memory I will never forget.

 

May 042016
 

Fixing the shakes..Piccure Plus plug in

by Rudiger Wolf

An exciting find to share with readers!

Your website has inspired and helped me to enjoy photography immensely… not to mention all the ideas to acquire new gear. In the recent article “The Pursuit of Perfection”, it articulated the inspirational concept that “I don’t seek to capture the moment perfectly; I simply seek to capture the perfect moment.”

A few weeks ago, we were visiting Lake Tahoe, and I captured this image:

Steve 01

Upon closer inspection (yes indeed… pixel peeping), I noticed it was not as sharp as I would like, and the search was on to find a sharper lens, change technique, blame Adobe’s X-trans processing and find a new raw processor, etc.

But last night, I ran across a Lightroom plug-in that yielded the results shown below at 1:1. The second comparison shows the difference at 3:1 for real pixel peepers.

1st…

Steve 02

2nd…

Steve 03

Steve 03

I am so excited by this difference, I wanted to share it with the readers of this website. I have frequently had some frustration with images that were not as clear/sharp as I would have liked.

Aside from shooting the XT-1, we also enjoy smaller, tougher cameras that tend to be not quite as sharp as I would like. Here is another example, this time from the Olympus TG4 with before / after.

Steve 04

Many times, to capture the perfect moment (however you define it), we may need to compromise the quality of the image. With this software, I find that perhaps I can recover some of the quality as well, after the fact. The software is piccure+. Find the website at piccureplus.com. Best wishes!

Screen Shot 2016-05-04 at 8.43.31 AM

Rudy

http://digitalwolftracks.smugmug.com

Rudiger Wolf

May 022016
 

OLYMPUS DIGITAL CAMERA

The Mighty Panasonic-Leica 100-400mm Lens Review

By Bob Towery

panasonic_100_400mm_g_series_lens_1211984

I recently acquired the Panasonic Leica 100-400mm lens to go along with my Olympus OMD-M5 Mk II kit. I didn’t start off with the idea of writing a review but as I began getting to know this lens I thought it might be a nice addition to Steve’s excellent collection of resources for us enthusiasts. (From Steve: Thank you Bob)!

As background, I have been shooting digitally since 2001, with Canon bodies and a wide array of L lenses. I have had a number of 70-200’s, as well as 300mm and 400mm L primes.

About five years ago I wanted to get into a smaller kit for travel work. Partly with the excellent information I got here on Steve’s site, I got a Leica M9 setup and used this for quite a few trips. But I do enjoy telephoto work as well, and certainly that’s not the M9’s forte. And although I became pretty proficient at both manual focusing, there are still those instances where you have one second to get a shot and it’s lucky indeed to have pre-focused accurately. I found I was only using my M9 when going street shooting.

Fast forwarding, when the Fuji XT series came out I dove in. Somehow I just never warmed up to this system. It’s AF was exceedingly poor (since improved I’m told). The camera also failed on a trip, the first time that had ever happened to me. Although Fuji did a stellar job of repairing it quickly on their dime, this unnerved me and I sold that kit off.

Knowing Steve had always been an Olympus fan, I followed those reviews, and when the OMD M5 II was released I jumped into the Oly pool. Using the Olympus kit has been very rewarding. It’s a high performing camera, with the only limit (for my use) being the noise at higher ISO’s.

THE SCENE

Living where I do on an island near Seattle, I have a lot of opportunities to shoot interesting birds like Bald Eagles and Great Blue Herons. The Fuji would nearly always miss. So the first paces I put the Oly through were to shoot these birds, and its AF performance was excellent. This was with the 40-150mm, so fully zoomed in we are at 300mm effective. But even these large specimens of the bird world are pretty small subjects. BTW, below I’ll do a few comparison shots with both the 100-400mm and the 40-150mm.

It’s spring time right now and there are a lot of beautiful flowers to shoot here. This will be a “real world” review. Some of the images are those subjects I enjoy shooting, and some are just for the review factor.

THE MIGHTY PANASONIC-LEICA 100-400mm

Screen Shot 2016-05-02 at 8.34.40 AM

Enter the Panasonic-Leica 100-400mm! Image stabilized, effective focal length (long end) of 800mm. Before we get into the pictures, I want to state that I’m not a professional reviewer, or even photographer, just an enthusiast. I know many of you would do your own tests differently than mine. My testing was around the kinds of things I like to shoot, which don’t involve test patterns. And all of these are real world, no tripods involved (well, one exception). Also, to be practical when I give a focal length, it will be what LR reports and is on the lens body, i.e. in-between 100 and 400. If you want to double the focal lengths you see given the body’s crop factor that is fine by me.

WHAT ABOUT THE NEW OLYMPUS 300mm?

We all know Olympus was building and releasing their 300mm prime at about the same time. I considered this for a short time, as I prefer Olympus products and given the price of this glass, it’s going to be a fine prime performer. I’d bet my 401k that the Oly 300mm will outperform the Panasonic 100-400mm handily at the same focal length. But for me, these primes are impractical. “Zoom with your feet” really doesn’t work when say you are standing on a beach looking out, or trying to catch a flying bird. There have been times where I approached a sitting bald eagle with my full frame body and 400mm, and by the time I got close enough to make them fly away for a glorious picture, I can’t get the whole bird in the frame – too close! At an effective 600mm, I just can’t count on being the right distance from my subject. So the Oly 300mm prime is out for me.

HOW’S YOUR STABILITY?

I’m sure most readers know the camera has IBIS (In Body Image Stabilization) and the lens has its own IS. Unlike a Panasonic body mated to the lens, sadly the Oly IBIS and the lens IS do not speak the same language. From my reading, and brief testing on my own, the best option is to turn IBIS off and use the lens IS, so that is what I did.

IMAGES IN THIS REVIEW

Also, Steve told me to process as I normally would. In general, this means a few tweaks in Lightroom, 90% of the time less than one minute’s work. I’ll point out below when I did no post. All images were made with the Olympus OMD M5 Mk II and the Panasonic/Leica 100-400 unless otherwise indicated. Only one shot was with a tripod. Others are hand held, sometimes with me leaning against a post. Apologies in advance if I didn’t test something as you would have. I really wanted to include some people shots, seeing how it rendered faces, even if that isn’t a practical use for the lens, but I didn’t have an opportunity to work that out.

Also, all images were exported from Lightroom using Screen/Normal sharpening. I decided to number the images, as readers often comment by number.

All right, let’s hit the road.

THE SAPSUCKER STUDY

Shortly after the lens arrived, I had a lunch planned with a friend who happens to be a great and dedicated wildlife photographer. Our lunch date was to discuss an upcoming joint trip. I had thrown the Oly and the lens in the bag, basically just to show him. He’s a Canon shooter too, no M4/3 experience.

When we got back to his home I opened the trunk and zipped open the bag. I handed it to him and we were chatting, but noticed a loud woodpecker nearby. I said, “let’s go check this out” and he said “they usually fly away once you start staring at them.”

#1 – 264mm, f/5.5, 1/2000, iso 640

Before we get to the “good shots,” I want to share this one, to show you what we were up against. (And it turned out to be a red breasted sapsucker, not a woodpecker, but they still bang away on the tree.) The sapsucker is in constant motion, including jumping from one branch to another. The tree is filled with branches both in front of and behind the bird. But notice that even in this tangled mess, with center dot focus selected, the lens focused perfectly.

CLICK ALL IMAGES IN THIS REVIEW TO SEE THEM CORRECTLY!

OLYMPUS DIGITAL CAMERA

 

So as I began shooting, I had to move both left and right around the tree, while waiting for him to get clear.

#2 – 400mm, f/6.3, 1/1600, iso 640

OLYMPUS DIGITAL CAMERA

 

It was a pleasure to have the reach to fill the viewfinder with a bird that is just say six inches high. Here at 400mm and a distance of perhaps 20 feet, the bird and the branch are magnificently sharp.

Crop of #2

OLYMPUS DIGITAL CAMERA

Here is a 1:1 crop from this frame. How long is that talon, 3/8”s of an inch?

#3 – 300mm, f/8.0, 1/500, iso 640

OLYMPUS DIGITAL CAMERA

Moving along to bokeh, this certainly isn’t the finest I have ever seen. And I wouldn’t expect it to be, given the massive range of this lens, the f/6.3 aperture when fully zoomed, and the sub $2,000 price tag.

#3 with background smoothed in Lightroom

OLYMPUS DIGITAL CAMERA

However here’s what I got in about a minute in Lightroom. I used the Adjustment Brush, with the Clarity and Sharpness sliders all the way to the left. Then I went around the birdie numerous times which did a nice job of softening up the background area. I then lightened up the bird’s back just a tad. Given the fact that I’d have no shot at all with most of my other lenses, I can live with this.

As I’m getting these shots and my friend and I are viewing them on the LCD, he begins getting jumpy and then dashes into the house. He returns with his amazing Canon 200-400mm, mounted on an older 1D Mk IV. I have serious lens envy, but that kind of size just isn’t practical for me.

#4 – Iphone

BT100-400-6

My wife got this shot of us with her iphone. Guess who can handhold longer?

#5 – Samsung S6

BT100-400-7

Here we have King Kong on top and Cheetah below. Interestingly, my rig is both wider and longer than his, focal length speaking. His is a 1.3 crop body, thus the “widest” is 260mm. The lens has a 1.4 teleconverter built in, so with that engaged, he’s at 728mm by my calculation.

Of course I would never expect the Panasonic to compete with this Canon in IQ. However it does cost six times as much and weighs eight pounds. (My apologies, my friend didn’t get any shots that he felt like sharing, so we could compare.)

IMAGE WITHIN AN IMAGE

Over the years I have found finding new compositions within my images to be very rewarding. View your image full size, set a crop, then drag the crop around in the Navigator window. It’s surprising how often you can get an additional image or two from one of your shots. Sometimes even more compelling than your in-camera composition. But of course there is a penalty in terms of resulting image size, due to the crop. Not a big deal for blog/facebook posting, but would come into play say if you intend to print.

#6 – 100mm, f/5.6, 1/200, iso 400

OLYMPUS DIGITAL CAMERA

When I saw the scene above, my thought was that the child on the bike could be interesting. Looks like a beginner, the setting is quite nice, and so on.

#7 – 280mm, f/5.6, 1/500, iso 400

OLYMPUS DIGITAL CAMERA

Look what happens zooming way into the scene. The rider is nicely isolated. Bonus points for my timing of an otter jumping into the scene, what do you say? Normally I’d crop that out but it’s so unusual I left it in just for the fun factor. If I cropped that deep into the original image, there just wouldn’t be enough pixels left for much use. I believe at the time I planned to wait for the rider to get into that sunny area, but the otter surprised me so much I lost track. (I scrambled down on to the beach to try to get him too, but he was long gone.)

#8 – 141mm, f/9, 1/640, iso 200

OLYMPUS DIGITAL CAMERA

When I saw this sailboat going by, I wanted to get a couple shots just to see how clearly the lens would render the lettering and sailboat details. But thinking about this “image within an image” idea I zoomed all the way in and moved the lens around the boat.

#9 – 400mm, f/9, 1/640, iso 200

OLYMPUS DIGITAL CAMERA

I found this colorful and pleasing composition and grabbed a couple frames.

#10 – 400mm, f/8, 1/1250, iso 400

OLYMPUS DIGITAL CAMERA

This kayak was WAY far away. I would estimate 300-400 yards. The piling and bird are about half way to the kayak. Thought it would be interesting to see how the foreground would be rendered when I focused on the kayak. This is about a one quarter frame crop!

MT. RAINIER STUDY

So I’m very fortunate to have a view of Mt. Rainier from my backyard. She’s only out one out of every three to four days. There are often clouds that completely obscure her.

#11 – 70mm on a Canon FF body

BT100-400-12

Google Earth says the summit is 60 miles from my house. I wanted to get a full frame shot at 50 mm to show you what that looks like in person. But the weather hasn’t cooperated, so here is an older image I shot at 70mm on full frame. What can we do with the Panasonic 100-400mm on a nice day?

#12 – 400mm f/9, 1/800, iso 200

OLYMPUS DIGITAL CAMERA

Here we are at 400mm. Handheld! Note that between our positions are Seattle’s southern suburbs, as well as the Sea-Tac airport. The sky is continually filled with jets. It takes a rare day to have completely clear air, and I didn’t have any while preparing this piece. So I believe some lack of sharpness here is because we are looking through 60 miles of air as opposed to lens performance.

#13 – 300mm f/8, 1/200, iso 200 – tripod mounted – 12 sec timer

OLYMPUS DIGITAL CAMERA

I took this one at 300mm as it includes an island that provides a little context. Used a polarizer to cut through the haze.

GOING BOATING

#14 – 100mm, f/6.3, 1/1000, iso 200

OLYMPUS DIGITAL CAMERA

There is a continual parade of boats in front of my place. Including ferries, commercial, military and pleasure craft. Here is one that isn’t real attractive but serves our purpose of seeing what this lens can do. This is a small boat, 30 feet at most. Above is what it looked like at 100mm.

#15 – 400mm, f/6.3, 1/1000, iso 200

OLYMPUS DIGITAL CAMERA

Full zoomed in. Keep in mind the boat is moving, I’m having to pan to keep up with it. Pretty acceptable detail.

#16 – 400mm, f/8, 1/2000, iso 400

OLYMPUS DIGITAL CAMERA

 

Google Earth tells me this buoy is 735 yards from my location (that’s more than four-thirds of a mile).

Sea lions often jump up onto the buoy and boats and other passersby stop in for a look. In this case some kayakers. Previously I have only been able to see this kind of detail with my high powered binoculars.

#17 – 400mm, f/8, 1/2000, iso 400

OLYMPUS DIGITAL CAMERA

As I’m shooting this, a speedboat comes along. While I can’t make out the license numbers on the bow, I can clearly read the model letters on the side. See the faded “4” on the top right of the buoy? Not bad from this distance.

#17 – crop detail

BT-panny100400reviewcropboat-

FYI this shows the crop in the boat/buoy image.

#18 – 300mm, f/8, 1/800, iso 200

OLYMPUS DIGITAL CAMERA

This boat was much closer. This is the uncropped shot at 300mm. Boat is going perhaps 20 mph; I’m panning. Everything looks good to me.

#18 – crop detail

OLYMPUS DIGITAL CAMERA

Take a look at this crop. Look straight down from the second zero in “2000.” There are two openings there. The one to the right is most likely a drain from an ice chest compartment. We are talking two inches wide, at the max. I’d say that’s pretty amazing detail. One can see that the dye from the canvas is leaching out and staining the hull, and this is in a shaded spot!

#19 – 236mm, f/5.3, 1/640, iso 640

OLYMPUS DIGITAL CAMERA

Lots of small details to look at in this ferry shot. Note that these ferries really move – about 23mph. This is a bit of a crop. Full size, it is very sharp.

#20, 100mm, f/4, 1/80, iso 1600

OLYMPUS DIGITAL CAMERA

This shot amazes me. There had to be some luck involved with my panning here, given that I’m at 1/80th and the shot is very sharp. But look at that perfect focus, in the dark.

BUILDING STUDY

#21 – Panasonic 100-400 – 146mm, f/8, 1/640, iso 320

OLYMPUS DIGITAL CAMERA

Let’s get into comparing the 100-400 vs the Olympus 40-150 PRO. I really didn’t expect the Panny to hold up well against this lens, but once again I am surprised, in a good way. These shots are about a minute apart. I’m standing in the exact same location, attempting to have the Panny at 150 but missing by a couple mm’s. I turned IBIS on for the Olympus lens. The shot is cropped just a bit to be identical.

#22 – 40-150mm Olympus Pro – 150mm, f/8, 1/640, iso 320

OLYMPUS DIGITAL CAMERA

There isn’t really much between these two, is there? When I look at them full screen in Lightroom’s compare mode, it’s hard to tell which one is which. Even the tonality is remarkably similar – the building, the sky and the grass. No post on these images by the way.

.

Crop of #21 (Panasonic Lens)

OLYMPUS DIGITAL CAMERA

What happens if we examine crops to show us more detail? Here are crops of the same two images for closer comparison.

Crop of #22 (Olympus Lens)

OLYMPUS DIGITAL CAMERA

I can see the wording on the sign is a bit sharper with the 40-150 shot. The focus was on the center rectangle, so the building was the focus spot. Perhaps the result here would have been different had I focused on the sign? It’s a slight difference in any case.

Crop of #21 (Panasonic Lens)

OLYMPUS DIGITAL CAMERA

And here is the upper right corner, which I chose because of the tree branch.

Crop of #22 (Olympus Lens)

OLYMPUS DIGITAL CAMERA

Once again, the 40-150 shows more definition, at least to my eye. But I don’t think there is much to complain about with the 100-400 version.

(This setting by the way is http://www.bloedelreserve.org )

FLOWER STUDIES

#23 – 146mm, f/4.6, 1/200, iso 200

OLYMPUS DIGITAL CAMERA

The wind was blowing these plants around, so the shots don’t look as identical as they could.

I focused on the center flower in both cases. I think both images are perfectly reasonable. Kind of like the bokeh on the 100-400 shot a bit better actually.

#24 – Olympus 40-150 Pro – 150mm, f/4.5, 1/200, iso 200

OLYMPUS DIGITAL CAMERA

But there is definitely more detail in the lightest part of the flower with the Oly 40-150 version.

#25 – 264mm, f/5.6, 1/200, iso 200

OLYMPUS DIGITAL CAMERA

The post for this image was +38 on Vibrance, +12 on Saturation and a touch of vignette. I didn’t mess with the background area at all. Gorgeous bokeh, I’m sure due to my distance to the blossoms, and then the distance to the background.

#26 – 236mm, f/5.3, 1/1250, iso 1600

OLYMPUS DIGITAL CAMERA

Just a touch of Vibrance.

#27 – 400mm, f/6.3, 1/250, iso 640

OLYMPUS DIGITAL CAMERA

I came across this tuilip in someone’s yard and thought it would be interesting to see what the lens did with the very busy background. I added Vibrance as well as a graduated filter at the bottom in post, but left the background alone. Using the adjustment brush with de-Clarity would fix that right up.

#28 – 100mm / f/5.6, 1/250, iso 500

OLYMPUS DIGITAL CAMERA

Here is the scene, from the exact same spot, minimum focal length.

#29 – 100mm, f/4.5, 1/200, iso 1600

OLYMPUS DIGITAL CAMERA

 

Another shot from someone’s yard.

#30 – 146mm, f/4.6, 1/1250, iso 200

OLYMPUS DIGITAL CAMERA

One more, just to show that a background doesn’t have to be completely blurred to add to the image.

BIRD STUDIES

#31 – 400mm, f/6.3, 1/640, iso 500

OLYMPUS DIGITAL CAMERA

We have some spectacular birds in our area. On the larger side, we have Great Blue Herons and Bald Eagles. Wasn’t fortunate enough to get any Bald Eagles but Ms. Heron decided to join in the fun.

Herons are very aware. They are able to get airborne with one leap of those long legs. So they don’t fly off unless you get too close. Given their great size, in the past I have gotten some nice images with my full frame Canon and 400mm fixed, approaching very slowly.

#32 – 318mm, f/6.3, 1/640, iso 200

OLYMPUS DIGITAL CAMERA

These birds are a joy to see in flight. They are gorgeous and graceful. Unfortunately they will show their tails in nearly all shots. That is because if you approach from the side, they fly the opposite way. If you approach from the back, as I did here, no matter which way they go, you only see the back. I really need to try this from a kayak or boat.

They are also smart and often wait to fly off until you look down at your footing, back of your camera, etc. So you have a very small reaction time. To me the important thing about this shot was that I sensed the takeoff, raised the camera, framed, autofocus was instant, and I got a crystal clear shot.

There’s just no griping about autofocus with this lens.

#33 – 400mm, f/6.3, 1/640, iso 500

OLYMPUS DIGITAL CAMERA

Here is an even better test. I was out on my deck, which is about 75’ above the water. I believe I was shooting the Harlequin ducks when all of a sudden I see movement in the sky. I instinctively raise the camera, get focus and shoot. No time to play with any settings. And we have a crystal clear shot in glorious focus.

#34 – 400mm, f/6.3, 1/500, iso 500

OLYMPUS DIGITAL CAMERA

I was very close to this tiny bird, about 15-20 feet. This bird is perhaps 6 or 7 inches beak to tail. There was a concrete half wall between the bird and I, perhaps that is why it didn’t fly off. At 200mm on a full frame, this wouldn’t be much of a shot as the bird would be too tiny for any usage. Very impressed with the lens in this situation. The definition in the feathers seems just about perfect to my eye.

#35 – 400mm, f/6.3, 1/500, iso 500

OLYMPUS DIGITAL CAMERA

 

Mallards are relatively large, but at this distance, only this sort of focal length will create any type of reasonable image. This is a crop – about one-third of the frame.

#36 – 300mm, f/8, 1/500, iso 800

OLYMPUS DIGITAL CAMERA

 

These harlequin ducks are regulars in my back yard every Winter/Spring. They are extremely shy and fly off basically as soon as they see you. I have never gotten a decent shot of them until now. This shot was taken from about 100 feet away. I’m far enough back that they don’t panic.

#37 – 318mm, f/8, 1/640, iso 500

OLYMPUS DIGITAL CAMERA

Having this range leads to some compositions I have never been able to consider before.

TELEPHOTO-MACRO?

#38 – 400mm, f/6.3, 1/800, iso 320

While shooting the ducks, walking back to my house, I ran into this lizard. Pretty good size, probably 9″ long. Why not give it a try? Minimum focusing distance is 1.3 meters, which is where I was (moved a bit back and forth until I got focus lock.)

OLYMPUS DIGITAL CAMERA

CONCLUSION

I like this lens a great deal. I have never had this kind of reach before, and for some of the subjects I like to shoot I feel it will be invaluable. I’m very impressed that the IQ compares “quite well” to the Olympus 40-150mm. If I was going on a trip where I wanted this extra reach, I’d have no problem leaving that Oly lens at home, maybe throwing in a couple of Olympus primes for the intermediate range.

All things considered, this is an effective 800mm lens that is 6.5” long (collapsed) – a modern marvel, in my book anyway.

Would really have been nice to compare my images with my friend’s, with his Canon bazooka. Especially since his older body is also a 16mp like the OMD M5 II. But I’m not trying to get into NatGeo with my images. I especially appreciate the size/weight/value proposition of this Panasonic lens. His outings with that lens are few and far between, whereas I can bring this lens along anytime I want.

Although I didn’t show these images, for a while it appeared to me that images at 300mm were superior to those at 400mm. I did some test shots and cropped the 300mm ones to see an equivalent. Upon review, my thoughts just didn’t seem to hold up. I didn’t see any significant degradation at 400mm vs 300mm.

#39 – 400mm, f/8, 1/800, iso 200

OLYMPUS DIGITAL CAMERA

If you want to be able to shoot anything moving, quick AF is a must. This lens has it. I was down by the beach having a cocktail with my wife this evening. I noticed this heron feeding. I took some shots of her wading, but really she was just too far away, even at 800mm, to make an interesting composition. Somewhere between 100 and 150 yards. I didn’t even have the camera to my eye when I sensed the movement. Quickly raised, got focus, fired. I love this artistic rendering, with the sun more or less directly behind the heron.

Of course I wish Olympus and Panasonic would cooperate such that the body-lens combo would use both IS systems. But these results are plenty good IMHO. Every single body/lens combo is a compromise in one way or another. Even a brand new Leica SL with the 90-280 zoom could not get many of the shots on this page, not being able to reach out to an effective 800mm.

#40 – 400mm, f/6.3, 1/1000, iso 1250

OLYMPUS DIGITAL CAMERA

I’m closing with this one last image. First, it is my favorite image in the review. The camera and lens performed perfectly, the lighting was favorable, and Mr. Heron contorted himself into this wild position. This is a crop, it’s about 60% of the frame. Imagine the FF Body/800mm lens it would take to get a shot like this? I could own one, but it is doubtful I would be all set up with it to capture this moment.

Which brings me to my very last thought (finally! You are thinking). Had it not been for needing to go shooting for this review, I wouldn’t have a lot of these shots. As I’m quite pleased with many of them, this is a reminder to us all to get off the computer and get shooting. It’s a beautiful world, and at least for me, this lens is going to help me capture that much more of it.

Thanks Steve once again for your site. Thank you to my fellow photographers for reading and I hope this is helpful.

Apr 262016
 

Twenty Four Hours with the Leica Q

by Andrew Gemmell

LEICA-Q-KAMPAGNEN-WINDOW-TEASER_general-1200x470

I’ve been thinking of buying a digital camera suitable for street photography recently. I’ve been using film for the past 2 years and it does grow a bit tiresome after a while and sometimes it’s just nice to be able to shoot, adjust on the run and keep going knowing you won’t be up for film processing costs!

I was fortunate enough to be offered a Leica Q to borrow for a day. The owner had a window open so I grabbed the opportunity to see what the hype was about. The first thing I noticed, even though it’s not a rangefinder it was very Leica like with intuitive and simple controls. This camera really does make the process simple. Limited menu’s and certainly less controls than most other options in this class.

Unison

Broken

Control – ideally as photographers if we can control our shutter, aperture, ISO and focusing it’s really all we need. The Q lets you do this very easily for the first three of those and as for focus the AF was fast and hit the spot 9 out of 10 times. Granted I didn’t use this camera during the evening so couldn’t comment on performance in very low light. Having used the Monochrom in the past it was like using a rangefinder, minus the rangefinder!

Features – the macro I tried a couple of times and I could see it being a feature you could call on from time to time. The frame selector down to 35mm and then 50mm was easy to apply on the run and personally I could see myself using the 35mm though rarely the 50mm.

Lens – Can’t complain here. This lens is superb and at 28mm is ideal for street photography and to an extent broader documentary photography. I usually prefer 50mm as a focal length. I did find this lens does force you to move closer to your subject and with that think about that challenge more as you walk through the streets. In that respect I genuinely think it could really help people, like me, to bring yourself into the moment more than I have in the past. If I’m learning then that’s a good thing.

Half

Silver

Conclusion

All in all it’s a very nice camera. I’ve used the Leica Monochrom, the original Fuji x100, the original Olympus EM5 and on pure specs, simplicity and suitability for street this would be no.2 for me behind the original Monochrom (Though even I admit that is an apples vs oranges comparison)! It’s now “getting on” in this fast paced world, so will be very interesting to see what Leica do next with the Q. I can’t comment on the x100T (improved alot from the x100 from all reports), Ricoh GR or RX1R as direct competitors and no doubt they’d all have there own strengths and weaknesses.

All images in this post were shot with the Leica Q.

Thanks Steve and Brandon for continuing to run a great photographic reference site.

Regards

Andy

Buy the Leica Q at Ken Hansen ([email protected]), PopFlash, B&H Photo or Amazon

Apr 252016
 

title2

Never Ending Love with Ricoh GR

by Lorenzo Moscia

ricohGR

When I first purchase the Ricoh GR I never thought a camara of that size will catch me for so long time. It is almost two years now since I start to bring the Ricoh basically everywhere on my assignment trip. At first it was Cuba where I brought a Canon as well wich it was staying most of the time at home, just because that was more than a family trip than a real assignment. But right there I discover the beauty of walking all day around a city without look like a photographer and my back and knees were so happy by the end of the day.

RICOH.MOSCIA.TANZA-2

RICOH.MOSCIA.TANZA-3

RICOH.MOSCIA.TANZA-4

RICOH.MOSCIA.TANZA-6

RICOH.MOSCIA.TANZA-7

To begin with I was a little scared of sending Ricoh files to my agency. Would some editor buy and publish files made with a pocket camera? When I got on assignment I normally use two canon bodies (5d MkIII with a 16-352.8II and 6D with 50 1.2) sometimes I bring the little 28mm II and the 35f2.

If I m on assignment for a travel Magazine in Europe I will carry the Ricoh in a Hama pocket on my belt and I could barely take it out. But if I m doing something else like in Easter Ukraine,Thailand, Sri Lanka or Africa with ONG well I find out just using more and more the Ricoh, especially when I have some free hours in wich I m left to walk around a place with no fixer or driver. Canon stays home and I m free as a bird with Ricoh in my pocket.
After the Cuba experience I order one more battery and a wall charger.

RICOH.MOSCIA.TANZA-11

RICOH.MOSCIA.TANZA-12

RICOH.MOSCIA.TANZA-15

RICOH.MOSCIA.TANZA-16

RICOH.MOSCIA.TANZA-19

RICOH.MOSCIA.TANZA-21

RICOH.MOSCIA.TANZA-22

RICOH.MOSCIA.TANZA-23

When I m editing even magnifying the image I cannot spot if is the Ricoh or a Canon with the 28. Colors are so great and dynamic range is even better than Canon!. Ricoh is just a bit more noisy.Of course I wont get the bokeh of the 50.1.2 or the 135 f2! When I was in Brazil for the World Cup back in 2014 my assignment was to follow the Colombian supporters for the Colombian football FEderation. My gear at that time it was two Canon bodies with 28 and 50 in a little Domke F5 XC. I was supposed to be all time on the road, Belo Horizonte, Brasilia, Cuiabá and Rio. But when I get int o Rio and went back in to a Favela I regret so much to not have brought the Ricoh with me. Even if that Canon was a very light, effective combo I missed so many shots especially in some complicated streets were I dind have the balls to bring out any Canon at all.

RICOH.MOSCIA.Thay-1-2

Bangkok, Thailand, feb 2014. Scenes durign the Chinese Lunar New Year.The political crisis in Thailand is afecting tourims as well.Thailand’s Minister of Tourism and Sports Somsak Phurisisak recently predicted that february arrivals would fall by half to 1 million, with some hotels in the capital, Pattaya and elsewhere experiencing occupancy rates of just 30 percent. Much of that decline is thought to have come from the Chinese market after the nation warned its citizens to avoid protest sites and reconsider nonessential travel to Thailand over the popular Lunar New Year travel period.

RICOH.MOSCIA.Thay-2-2

RICOH.MOSCIA.Thay-8

Kieve, Ukraine, March,11,2015. Vita diaria por las calles de Kiev.

It was the new GR, same sensor, same face,but the body-material more Anti Scratch and few improvements all around.I was happy man again. In Ukraine on the fire line of course I would use the Canon but as I walk around Mariupol with the Ricoh I felt like invisible and could catch so many shot without people even notice me. No sound it also very important. In Sri Lanka, Colombo during a assignment for a Canadian ONG I brought tow Canon, 28, 35.1.4 and 50 1.8 (the 70 dollars lens) and the Ricoh.

Ukraine, march 2015.

RICOH.MOSCIA.UKR-14

Ukraine, march 2015. Escenas de vida diaria en la ciudad de Mariupol que s eencuentra a pocos km de la linea de combate entre ejercito ukranio y separatistas pro rusos.

Ukraine, march 2015. Escenas de vida diaria en la ciudad de Mariupol que s eencuentra a pocos km de la linea de combate entre ejercito ukranio y separatistas pro rusos.

Ukraine, march 2015. Escenas de vida diaria en la ciudad de Mariupol que s eencuentra a pocos km de la linea de combate entre ejercito ukranio y separatistas pro rusos.

My task there was to photographs students in school and in their homes. 35 1.4 I bought used in Rome it was performing just great and the combination with the canon 6d body was just going to be my best assignment lens. But too good to be true after a couple of days I notice that at 1.4 lots of shots were out of focus. they look all right when I took them but once open the file in lightroom I just find out that the focus was some cm over the front. It didn’t happen once with the 50 1.2 so what was that??! 35 was back int the hotel room. And once I was in Rome send it back to canon service but the problem didn’t go away. End of love with the canon 35. But back in Sri Lanka when I was not working for the ONG I just left the Canon at the hotel and went around with the Ricoh, inside a Hama belt case and two batteries. That was haven! So my bottom line here is that I would love to find another little body with a 50 2.0 or less, something like Ricoh that could give me a bit of bokeh. And going out there and shoot some assignment with just that combination!

Take care everyone!

Lorenzo Moscia

Apr 222016
 

Into darkness with Ilford film

cover photo – Pentax MZ-S, SMC Pentax-FA 43mm F1.9 Limited

cover photo

Another day, another film and another report. And yes, I stole name of article from Star Trek.

Even in shrinking film world there are choices, possibilities and a lot of things to learn. Last spring I played with slow ISO50 film, and now I went opposite way – picked Ilford Delta 3200 film with incredible ISO3200 sensitivity and went to test it into darkness.

After three rolls I feel that I just scratched the tip of the iceberg in terms of possibilities with this film. Why do I think so? Well, documentation of this film and internet if full of information about possibility to expose it from ISO400 to ISO12800, to make it less/more grainy or less/more contrasty with different development materials and techniques. As for me I don’t develop myself (oh I feel this will change soon, might be very soon, I’m so tempted), and I shoot it at box speed, or to be more precise DX code speed on 3200 ISO. But this film is already in my list of my favorites together with: Portra400 – go anywhere film, Cinestill 800T – low light film, Ektar 100 – film for sun. Ilford Delta 3200 in this list will be film for night.

To sum up my personal evaluation of this film I can say, that it was a first time for me when I had a totally analogue trip, I had a confidence to go for short vacation only with film cameras, one was loaded with portra for day and other with delta for night. Not saying that digital is bad, only saying that its not amount of light decides which medium to use, Its me who makes decision.

And now to list of observations and remarks:

– Its fast film. All shots here were metered at 3200 ISO, some of them were adjusted in PP, with minus half stop EV. I saw quite good or at least acceptable examples of this film shot at 6400, or even 12800.
– Its grainy. I like this type of grain. Read that it could be make less or more grainy depending on developing materials and techniques.
– Contrast is low. I like more contrasty view, so I took advantage from hybrid process and increased contrast in LR. Together with grain it gives me pleasant film noir look.
– Its possible to use this film in daylight as well. Two shots here I made with 3x ND filter. Then its like shooting 400 ISO film.

Thats it. Thanks for reading! Don’t forget to share some tips regarding this film in comments.

Aivaras
https://www.flickr.com/photos/aiwalit/

Picture 1 – Pentax MZ-3, SMC Pentax-F 50mm F1.7, Marumi ND filter

picture1

Picture 2 – Pentax MZ-3, SMC Pentax-FA 50mm F1.4

belgija, briuggė


Picture 3 – Pentax MZ-3, SMC Pentax-F 50mm F1.7, Marumi ND filter

picture3

Picture 4 – Pentax MZ-3, SMC Pentax-FA 50mm F1.4

belgija, briuggė

Apr 132016
 

Photo trip to Peru

by Alec Fedorov

Hi Steve,

I am an amateur photographer who has been an avid reader of your website for three years. Thanks for the great service you provide to the community of photographers.

Recently, my wife and I returned from an REI trip to Peru where we hiked the Salkantay Trek to Machu Picchu, and I would like to share our experiences with the readers of your site.

I brought two cameras on the trip: Fuji X100s and Sony RX100III, both of which are great for travel photography. My go-to camera was the Fuji because of excellent image quality and ease of use. The Sony was kept in my pants pocket and came in handy a few times.

We arrived in Cusco, where we spent three days acclimatizing to the altitude, since the Salkantay Pass is at 15,200 feet. Cusco has the population of about 450,000 and it was the historic capital of the Incan Empire until it was conquered by the Spanish in 1532. Nowadays, Cusco is a growing city, and it is a tourist hub for trips to Machu Picchu.

We arrived in Cusco a few days before the New Year and the city was full of tourists and holiday lights. The streets in the center of Cusco are cobblestone. Some intersections are so narrow that the cars have to back up half way through the turn in order to complete it!

One of the most noticeable aspects of Cusco are the stray dogs which are ubiquitous. Some of the dogs have owners but the majority of them live on the streets. This is often due to people purchasing the dogs as puppies and then losing interest as the dog gets older and the novelty wears off. In Peru, it is considered inhumane to neuter dogs, so the population of street dogs just grows exponentially.

DSCF5966

DSCF5993

Cusco is a blend of ancient and modern. The food was excellent and some of the restaurants were very eccentric, the kind you would expect to find in Manhattan.

DSCF6291

One day, we hired a local driver to take us to the Sacred Valley of the Incas, which encompasses the heartland of the Incan empire. The scenery was spectacular, with very few tourists. At the end of the day, we ran into many shepherds, bringing the sheep in. They live in primitive clay houses without electricity.

DSCF6168

DSC01223

DSCF6143

DSCF6156

After spending three days in Cusco, we hooked up with the REI group to begin the Salkantay Trek to Machu Picchu. This trek is named among the 25 Best Treks in the World by National Geographic Adventure Travel Magazine. It is an ancient and remote footpath located in the same region as the Inca Trail. The first few days of the 6-day hike traverses through a landscape of scenic views of the snowcapped 20,574 ft Mt. Salkantay.

We spent the first two nights at Salkantay Lodge at 12,600, and hiked to the Glacier Lake at 14,500 feet to further acclimatize.

DSC01282

DSCF6551

 

The hike over the Salkantay Pass began on a beautiful sunny morning. As we ascended, the green valley and blue sky was replaced by the grey lifeless rock and a dense fog. Shortly after reaching the top of the pass, a lone white horse emerged out of the fog. It was a very surreal experience.

DSC01426

Over the next few days, we continued our descent into the high jungle, where we took our repose at three more lodges. The only traffic on the trek consisted of occasional packs of mules and horses carrying the luggage and the food supplies. In six days, we only ran across two other hikers. Photos below are of the local man who followed behind our group with the water and medical supplies.

DSCF6620

DSCF6707

On the last day, before reaching Machu Picchu, we hiked through coffee plantations, and we visited a local family business. Many of these families rely on selling coffee to the tourists as their only source of income.

DSCF6821

DSCF6840

Machu Picchu, in itself, was spectacular, and the experience of getting there by foot was unforgettable!

DSC01762

Alec

Thanks,
Alec

Apr 072016
 

New York through the Olympus 7-14 Pro Lens

by Mohamed El Barkani

Hi Steve!

I hope you are doing great and had an amazing weekend. I’m a reader of your blog since I discovered it last year and helped me moving to the Olympus OM-D system. Based on your reviews and experiences I bought the E-M10 which I really love. A few days I saw that you do offer the possibility to publish guest reports on your website. I would love to publish one article on your website and help other people.

E-M10MarkII-BLK_front_M14150II-BLK

Some background information to my person: I’m Mohamed El Barkani, born and raised in 1988 in Nador (Morocco), but I live in Germany (Rhine-Main area). I have always loved photography, but I have started to learn about photography since I bought my first DLSR during my semester abroad at the San Diego State University in California. The type of photography that I enjoy revolves around the urban and city environment and its stunning, often unnoticed architecture. I find myself photographing a lot of skylines, stations, building interiors and spiral staircases in cities around the world. In the field of architectural, night, cityscapes and long exposure photography I feel most comfortable, but I’m always keen to learn and try new photography techniques and always look forward to exploring new architecture and cities!

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

New York City, the city that never sleeps is one of the most beautiful places on Earth is the center of much activity. From arts to business and science, a lot goes on in NYC. Many photographers have tried to capture the gorgeousness of the city. The city that never sleeps has me immediately excited! Special buildings like the Empire State Building, Flatiron Building, Chrysler Building, the Statue of Liberty, Ground Zero, the impressive view from the Rockefeller Center, the peace in the Central Park, the lights of Times Square, the fantastic buildings such as the Grand Central Terminal or the Public Library on 5th Avenue. You can hardly find enough time for all the photo opportunities in the Big Apple and who likes skyscrapers will love New York!

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

I will send you the images in the next e-mail. Let me know if you are ok with the text, otherwise I will make some changes to fit better for your blog.

Best regards,
Mohamed

www.moelbar.com
www.facebook.com/moelbar
www.instagram.com/moelbar

Apr 042016
 

The Leica SL. A studio session

By Massimiliano Tiberi

Dear Steve and Brandon happy to share with you my recent work with the Leica SL

slleica

Last week I was involved in a portrait session with a young and talented model and I was so lucky to use for the first time the Leica SL. What a surprise. I was wondering about this camera and working with it (and for the moment its only lens) is really a pleasure. Is a simple to use camera and to be the first of its kind for Leica, I think the achievement are really impressive.  Recently I was shooting with Medium Format camera so a bit afraid to be back to 35mm, but I am honestly happy with the SL’s files and the IQ is one of the best I ever seen recently.

unnamed

unnamed-1

http://blog.massimilianotiberi.com/veronica-rossetti/

Massimiliano Tiberi
Journalist & Photographer

Mar 272016
 

Digital, Optical and Fixed. The Harinezumi 4.0

by Darek Meyer

Nothing changes here, in Indonesia, very much. Traffic also with no improvement, “horrible” is very polite expression to describe it. I`ll not make a deep dive into topic of safety, we all hear what is happening around, also in Europe. Unfortunately, Indonesia is not free from dangers, either. Rainy season is coming to an end, no serious flood this year in Jakarta. Bit of free time to refresh the webpage; update from Robert and me is already online, and as usually you can check it on http://where-were-we.com.

Luckily, camera manufacturers give us always something new to talk about. And, as result, to check how deep our pockets are. New gear from Fuji (oh, how tempting X70 is), Q (I treat it still as new camera, as availability is so poor), also lovers of DSLRs will have new beasts from Nikon and Canon very soon. As my trusted Ricoh GR died recently, there is new camera coming. But this is something for a post in future.

These days, digital camera with fixed lens, like 35mm, and optical viewfinder, does not sound any exciting anymore. Right??

Well…
Till time you realize, that among all these heavily branded cameras, with tons of functionalities and millions of ISO, you can also find tiny gem, which in addition will not force you to break the bank. I do not know whether you`ve already seen it, the tiny cam with hedgehog logo. You can be really surprised when you receive the box… Well, here it is: Harinezumi 4.0.

71Ay17RuwFL._SL1500_

One can ask: why the hell bother with a camera, which has 3 (yes, three) megapixels? if you happen to have 10 years old phone somewhere in the drawer, probably it will have better resolution.
The truth is, phones are for making calls, and cameras… just kidding.

I`m not really about to write an extensive review of this camera. All technical data you can find in the net. For the ones who would like to give it a try, couple of points to remember:

– it`s all plastic. As such, it is squeaking and cracking when you just keep it in your hand, pressing the shutter makes the sound even more interesting
– shutter lag is around 1 (one) second. So think before you frame and shoot, unless you are into slow mo, like continental drift
– battery / memory card cover is very weak. Rubber part covering USB got separated from the camera at first use. Bit of super glue keeps it in place; still possible to get to slots via plastic cover
– optical viewfinder – well, it`s just plastic frame. Unless you get experience, do not count on it to help you to frame
– rear screen: if I tell you that compared to it, Leica M9 has excellent screen, then you have the picture
– ISO 100 is great, other option available is 800, which , well, for BW can still be ok
– macro mode is great
– there is no flash
– BUT it does make movies, at 1, 8, and 30 frames per second! If you have seen a movie „Begotten”, then you can get very similar look for your productions
– there is no RAW… and 16GB memory card (micro SD) will hold for you almost 5,000 shots
– battery (installed and not possible to exchange) will last for about 100 shots; charging can be done from power bank and takes 2 hours.

After reading this, you can ask – why to bother? Answer is very short: FUN!

71xY+I+bSTL._SL1500_

81XHJ1v5I7L._SL1500_

This camera is tons of fun. Yes, it even brings attention when you try to use it on the street, BUT no one will have anything against. it simply does not look any serious. And the look of picture, already OOC, is, well, unique.

Below are some examples of what to expect. BW of course, as I`m this type of person. As a bonus, two in color, taken in small market in Jakarta. And especially here you can see, why some people call this camera “digital Lomo”.

bw1

bw2

bw3

bw4

bw5

bw6

bw7

bw8

bw9

bw10

bw11

color1

color2

Of course, it is not camera for everyone. But I`m not surprised, that it exists on the market, and have so many fans. Harinezumi 2+++ (older brother) has cult status among many people; and I can tell you – it can be addictive.

Enjoy the pics! Bit more from this camera on http://darekmeyer.com/LOFI.html

best regards
take care

Follow

Get every new post delivered to your Inbox

Join other followers: