May 192015
 
16749954303_338dbc7b63_b

Camera? Doesn’t matter, shoot what you love!

By Thomas Rhee

I’ve been a visitor of your site for a number of years now and while it’s not the most polished looking site, the content is what speaks to me. It’s honest and down to earth.

Anyways, I’ve been into photography since my high school days starting with film, on and off again thru the years until around 10 years when I started taking it more seriously. Like you (Steve), I’m also very much into high-end audio, currently mostly Naim gear along with a Mac Mini and a Mytek 192 DSD DAC that acts as my music server.

Recently, my GF knowing how much I love photography, gave me a Fuji X100T along with the WCL-X100 wide conversion lens as a gift for my birthday. Also, my birthday gift to myself this year was the Olympus OM-D E-M5 Mk.II,. My other cameras include the Olympus OM-D E-M1, Fuji X100, Ricoh GR Digital III and a Canon 5D Mk.II. Of course, I’ve been shooting non-stop with my two new cameras so my submissions will be from those two, all of which were taken within the last two weeks.

The first photo is a street photo taken with my E-M5 Mk.II after having dinner at a restaurant located deep inside of a few alleyways here in Seoul, Korea. The image is of a waitress getting hot coals for a table-side Korean BBQ restaurant. The alley was pretty dark but fortunately there was a light in front of her that acted as a spotlight as well as the two open doors (two different restaurants) that brought in some light. Nonetheless, the ISO had to brought up to 3200 to bring up a reasonable shutter speed with the lens wide open.

“Waitress”

OLYMPUS OM-D E-M5 Mk.II, 25MM, F1.8, 1/50, ISO 3200

16749954303_338dbc7b63_b

The second image was taken on Buddha’s Birthday here in Seoul, Korea. Like most other Asian countries, Buddhism is prevalent and Buddha’s Birthday is a big event where thousands come out to celebrate. This image was taken at one of the Buddhist temples here, nearby where the parade was happening. There was a homeless man surrounded by families, children on a field trip as well as devout Buddhists who came out to pray that day. The homeless man kind of stuck out from the crowd and I captured this while he was eating a popsicle although I have no idea where he obtained it from. The tree in the middle signifies to me a the disparity of how others see him as well as how he sees himself.

“Disparity”

OLYMPUS OM-D E-M5 MK.II, 45MM, F6.3, 1/60, ISO 3200

17738050891_f73f9e478e_b

The third and last image was taken this past Sunday where my GF and I decided to go to a botanical garden just to have a leisurely Sunday and get away from the hustle and bustle of living here in Seoul. The place was amazingly beautiful and when I came across this scene, with a Juniper tree, decided to take a snap.

“Juniper & The Garden Of Morning Calm”

FUJIFILM X100T, 19MM (28MM EQUIVALENT), F8, 1/1100, ISO 400 (FUJIFILM WCL-X100 WIDE CONVERSION LENS)

17769026282_2d81dbc735_b

Anyways, thanks for reading and looking,

Thomas Y. Rhee

https://www.eyeem.com/u/tyrphoto

May 182015
 

The Aesthetic of Lostness: Inside Iran with the Fuji X100s

 

By James Conley

fujix100s

Iran. Although home to one of the world’s oldest civilizations, (dating back more than 5,000 years), since 1979 Iran is most commonly known for the Islamic Revolution that toppled Mohammad Reza Pahlavi and took 66 Americans hostage, holding them for 444 days. Iran is daily in the news, with its military activities in Syria and Yemen, its support of Hezbollah, endless negotiations over its nuclear program, and its detention of reporters like the Washington Post’s Jason Rezaian. “Death to America” is a chant heard in televised demonstrations in Tehran, setting the outside view of Iran as a hostile one to the West.

unnamed-10

In contrast to this public view, I’ve been fortunate to know many Iranians who live in the United States, as well as abroad. Without exception, they love the United States and the common theme among them is a love of life and all it has to offer. With these contrasting experiences in mind, I determined to make a trip to Iran.

Getting into Iran as an American is no easy task. Reams of paperwork, multiple passport photographs, and multiple visits to the Iranian Interest Section in Washington, D.C., are required. Iranians work on a different time scale, and waiting (and waiting, and waiting) are part of the process. The government of Iran is suspicious of one’s prior travel, and does a thorough investigation into who you are. (It’s possible to go with a tour group, but tours are heavily monitored by the government and I wanted freedom of movement.) In the end, it took me over a year to obtain permission to visit Iran.

unnamed

 

Visa in hand, I scheduled a flight. Since 1979, Iran has been subject to a range of economic sanctions, including ones which eliminated direct flights from the United States. Iran is not a close destination. My flight took me through Istanbul, Turkey—with a 7 hour layover. Layover included, total travel time from Dulles to Tehran was 20 hours.

Arriving in Iran was a bit of an emotional let down. Based on my experiences with Iranian officials in the United States, I had expected a high degree of security and curiosity about an American’s arrival. At the airport, I found only a single disinterested official at Passport Control. A glance at my visa, a scan into the computer, and I was on my way without even eye contact or a single question about the purpose of my visit. (I have reason to believe that the arrival experience is highly variable, and your visit may go a very different way!)

unnamed-12

unnamed-9

My first experience of the country was an extremely long drive from the airport to my host’s house in northern Tehran. Tehran is one of the biggest cities in the world, with more than 17 million people. It is spread out over more than 200 square miles, and the airport is more than 30 miles south of the city. It was an appropriate introduction to a city and country that are impossible to pigeon-hole, with variety and diversity which are difficult to comprehend.

 

Being inside Iran is much different from hearing about it from the outside. While not an easy country to absorb or function in, the people are warm and welcoming, and there is a vast range of poverty and wealth among a people who have been isolated from much of the West for more than a generation. (Although only the United States and Canada have official sanctions against Iran, the complexity of those sections affects travel, banking, postal services, and foreign businesses who also do business with the United States.) Despite all the international conflict concerning Iran’s political role and its present history, the people within Iran continue to flourish in an environment that’s all their own.

unnamed-11

unnamed-2

Working as a photographer in Iran is beset with challenges. I was based in the northern part of Tehran, making day trips to other parts of the country. Each place presented unique difficulties and opportunities.

The primary challenge I try to address in any place is blending in. As a street photographer, my goal is to be an observer. This means being as unobtrusive as possible while maintaining enough involvement to understand and appreciate unfolding events so that I can time decisive moments. In most western countries, these needs are solved by being mindful of one’s dress and manners, and generally taking the “when in Rome” approach is enough that I can fade into the background. Not so in Iran. One can’t blend bone structure and skin color. Although there is a fair bit of ethnic diversity in Iran, it’s all diversity from within the region and, unsurprisingly, I was immediately identifiable as a foreigner no matter where I went, simply because of the color of my skin, hair, and the structure of my facial bones. No matter my efforts to adapt, I was regularly approached by strangers who started every conversation in broken English. Being mistaken for a local wasn’t going to happen. While this interfered with my ability to blend, it also led to some opportunities for interaction which otherwise wouldn’t have taken place.

unnamed-7

 

Photography inside Iran is not common. I occasionally saw some Iranians at famous places making images with cell phone cameras, but I didn’t see any DSLRs, mirrorless cameras, or film cameras, except a camera carried by a German tourist. Carrying a camera definitely singles you out.

I work as unobtrusively and quickly as possible, and make it habit to have only one camera out at a time. I try to carry only a single camera with lenses in my pockets, or at most carry only a small courier bag. I use Fuji X-Series cameras, which are smaller and quieter than a Leica, and to the uninitiated appear to be amateur pocket cameras. I wouldn’t advise carrying a large DSLR with a zoom lens because you’ll appear to be a journalist (read: spy). That said, most Iranians had little to no reaction if they saw the camera.

unnamed-4

unnamed-3

The images here were made with the X100s and its Wide and Tele companions. This set up of 28mm, 35mm, and 50mm (equivalents) allowed me to do 90% of my work while remaining extremely unobtrusive. The Wide converter stays on my camera most of the time, so I was able to carry just one lens, a spare battery, and a spare memory card. In a place where you want to stand out the least amount possible, this was a great kit. It is also relatively fast to change lenses without attracting attention.

 

A few shots required pulling out the X-E1, however. Architecture in Iran is immense, and even the 8mm Rokinon ultra wide angle (12mm equivalent) that I carry struggled to pull in the details. (None of those shots are included in this post—these are all X100s. Additional images can be seen here: http://fjamesconley.com/iran)

unnamed-1

Traveling to places where one doesn’t speak or read the language is not uncommon. Traveling to places where one has little chance of grasping the culture, however, is rare. It’s extremely stressful and overwhelming, taxing one’s creativity as well as one’s emotions. But it’s also liberating to be lost. Removed from even absentminded awareness of so much of what’s going on, the mind has little choice but to double its efforts to observe and make sense of things. Lost, it’s easier to perceive humanistic patterns. Lost, it’s easier to put attention on the gestalt. Lost, it’s easier to let your deeper self emerge.

unnamed-8

 

The aesthetics of lostness have a quality of their own. The feeling on many levels is one of isolation and disconnectedness. Like any state of mind, these aspects are revealed in the work. My interpretation of the images I made in Iran reflect this: isolated moments; overwhelming scale; and a puzzlement of things. I endeavored to embrace the lostness, however, because the alternative was to find a false narrative which would devolve into stereotype. In the lostness, I sought the commonality of humanity instead of looking for the superficiality of difference.

unnamed-6

Iran is a country, and not a political entity. Whatever its government’s present role on the world stage, Iran’s people and the country itself are magical. I look forward to returning again.

unnamed-5

Additional images can be seen here: http://fjamesconley.com/iran

Here’s my contact info:
website: fjamesconley.com
twitter: @Philatawgrapher

May 132015
 

Oregon Landscapes with the Leica M9 in B&W

by Kirk Williamson

Almost a year ago my wife and I made a trip out to Oregon to visit our twin sons who have moved out there to find work in their field (3d animation). Knowing that the landscapes out there are really something compared to the East Coast I was really in a conundrum as to what to bring for gear. I am a newspaper photojournalist and carry Canon pro stuff all day every day and there was no way I was going to travel with all that heavy gear. I kept looking at my M9 wondering if it were really possible to travel with just that and my Canon G15. I know people travel light with the Leica gear all the time but they usually use it for street shooting and the usual tourist stuff. So I finally decided to go for broke and break away from my comfort zone and went with the M9 and the 35 f2 Summicron, 50 f 1.4 Summilux and the old bear 90 f2.8 Tele-Elmarit from the late sixties.

oregon_huff-1

oregon_huff-2

oregon_huff-3

I had no idea what I was in for when we got off the plane in Portland. It being June made me think that the weather was going to be ok but it is Oregon and rain is part of the equation, but really, all the time! So on the first day out we drove to the usual places involving beautiful waterfalls and tricky driving along the old road above the Columbia River Gorge mostly in the rain. The sun would peak out of the rain clouds from time to time giving me fantastic opportunities for images involving landscapes and clouds.

oregon_huff-4

oregon_huff-5

I found myself using the 35mm and 50mm all the time for these scenics with clouds. I just put the lens at infinity, no focusing involved (old school auto focus). These two lenses did the bulk of the work and they were a joy to use. The 90mm was almost as much and the images were spectacular. I only wanted my 21mm a few times but all in all the travelling light thing was great, the Leica excelled at landscape shooting. Now I do have to say that I was not very well prepared for shooting waterfalls as I did not bring a tripod and cable release. I was able to get around it using the Canon G15 or shooting at around 1/30s some even at 1/90s to slow down the larger water falls.

oregon_huff-6

oregon_huff-7

oregon_huff-8

oregon_huff-9

oregon_huff-10

The Canon G15 made it out a few times but mostly on a hike of Silver Falls State Park which has ten waterfalls along a hiking route. What a great camera to hike with! Two of the shots I have included were taken with that camera – two of my favorites. The waterfall shot made with this camera was done holding it down on a post at 1/6s so it is a bit soft which adds to it’s other worldly look. The macro leaf shot was made with the G15 as well.

oregon_huff-11

oregon_huff-12

Very quickly I noticed that this was going to be a mostly B&W conversion right from the start. The colors were muted with the gray skies and rain so I converted some right way after loading them into my iPad. The result was wow! The clouds just popped. So I knew when I got home that post processing in Silver Efex Pro would be warranted. Boy was I right the results were fabulous.

oregon_huff-13

oregon_huff-14

oregon_huff-17

Needless to say my small kit was a big success. I have upgraded my M9 to the M-P 240 and plan on bringing that along for this years trip. We will be going to the coast so I will be including my 21mm Super Elmar as I know I’ll need it. This time the G15 will be staying home as my Sony Nex-7 will be tagging along to use with my Leica glass.

My website is www.krwphoto.com and my blog is www.krwphoto.com/blog

Thanks,

Kirk

May 132015
 

Leica M6 TTL & Eeyore’s Birthday Party 2015

By Khunya Lamat Pan

M6

Hello all! Some might recognize my name and you may attribute it to my extreme loyalty to the Pentax K1000 and the Super-Takumar line of lenses. While I still LOVE the hell out of those, I finally made a big purchase on my dream camera and bought a nearly mint Leica M6 TTL body with a Voigtlander Nokton 50mm f/1.5 lens. I chose the M6 due to its pure mechanical nature, with the exception of the light meter. Much like the K1000 actually! I like having the option of using a light meter, but if it fails or the battery dies, I can at least keep on shooting without any hiccups.

Bark

Drum Men

Not long after I bought the new setup, the annual festival in Austin, TX known as Eeyore’s Birthday Party took place. For anyone not familiar, the festival is a celebration of the character Eeyore created by A.A. Milne. Most everyone probably knows him from Winnie-the-Pooh. The festival has live music, egg toss, yoga, drum circles, food/beer, a real donkey, etc. It’s an all day event held in a beautiful park, and while it can get quite intense, the best thing to do is to find a nice shady patch on the hill within the trees and set up camp to watch all the interesting people walk by.

Guitar

Hammock

Legs

The M6 performed flawlessly. Like any Leica, it didn’t attract attention to itself in a horde of people. And while nearly everyone at the festival had a DSLR with them, I still felt relatively discreet. For the intensity of the festival, I felt the M6 was the perfect tool. I never felt like I had to worry about it, it just always works and feels smooth and precise. Even changing film on it in a crowd of people was easy, and I was expecting the worst since many people seem to hate the M6’s loading system. It was a very hot and sunny day, so I chose Ilford Pan F+ 50 and Efke KB 25 film. Efke is not longer in production, but I have stockpiled a lot of it in my freezer for special occasions like this. My style has always been to shoot more wide-open, so these two films are perfect for me, especially since I reside in sunny Texas. I developed them using Rodinal and Ilford Stop/Fix baths, and scanned myself using the Plustek Opticfilm 8200i 35mm film scanner.

Metal Head

Piggyback

Tattoo

On to the pictures! You can follow me on Flickr here: https://www.flickr.com/photos/khunya

You can also check out my website here: http://www.khunyalamatpan.com/

Thanks for looking, and I hope you enjoy!

-Khunya

May 072015
 

A carefree trip to Siem Reap with Leica D-Lux

by Paul Chan

Leica DLUX

Although I am a proud owner of a Leica M240, I opted for a small and easy camera for my recent trip to Siem Reap, Cambodia.  It was a vacation and I did not want to bother with the whole “thinking process” involved when shooting with a rangefinder.  Above all, the thought of lugging multiple lenses and a metal camera body in the heat of above 90°F just terrified me.

Knowing that the Leica D-Lux is virtually the same camera as the Panasonic LX100, I still bit the bullet and spent more dough on the “red dot” so that I could travel in style.  To my pleasant surprise, the handling of the camera was foolproof, with all commonly used features within easy access.  Since I prefer to shoot in the aperture priority mode, the exterior aperture ring is particular invaluable.  On that note, the add bonuses are the built-in EVF viewfinder and the quasi-four-third sensor.

The D-Lux is by no means the best deal of cameras in that price range, but it accommodates all my needs as a photography hobbyist who seeks the equilibrium of functionality and sleek design in a camera.

Here are some of the pictures I took of the wondrous ancient city.  Most pictures were taken with spot focus; some were intentionally underexposed by 1 stop in order to increase their color saturation.

L1000322

L1000339

L1000359

L1000284

L1000319

L1000275

L1000283

L1000250

L1000266

L1000272

L1000215

Apr 272015
 

The View from the Rearview

by Mark Steiglman

As I was recently interviewed on the Leica Blog, I thought I would submit here as well.

Spending hours a day commuting in my car has made me acutely aware of my surroundings. One day while looking in my rear view mirror I became very interested in the comings and goings of the cars behind me. The scenes unfolded like little vignettes of humanity, people laughing, arguing, crying but mostly just looking bored and trapped within their heads as well as the glass and metal box they confine themselves to in their daily commutes. I wanted to capture what I was witnessing.

Vanity

After working out the technical aspects, my first attempts lacked the direct, unreserved look I was after as people were recognizing the camera. There is a long history of documenting people without them noticing. Walker Evans shielded his camera within his coat while making his subway series. Ben Shahn, while documenting for the WPA used a right angle mirror attachment on his lens pretending to take pictures of his wife while actually shooting what was off to the side. I solved this problem by buying a small stuffed bird, ripping out the stuffing and cutting a hole for the lens. The bird cam has made it virtually impossible to know that I am photographing and my pictures suddenly became what I had seen on that day I conceived of the idea.

Yarn

The imaginary line of public verses private space that the windshield seems to represent became my “monitor” for both real and imagined tableaus that raise so many interpersonal and social questions during the moment of exposure. Coming from the whole “social landscape photography” genre, these are the kinds of pictures I have always taken except now I am within the confines of my car taking photographs of my subjects within the confines of theirs.

Kiss2

Mark Steigelman

marksteigelman.com

marksteigelman.wordpress.com

https://instagram.com/msteigelmanThe

Apr 162015
 

Shooting the Sony A7r at 12800 ISO

by Dirk De Paepe

sony-a7r

Dear Steve, Brandon and all site visitors. Here’s a very brief post of mine. It’s about my camera, the Sony A7r, and its ability to shoot at higher ISO’s.

I’m posting this because I’d like to put a bit of counterweight to so many opinions in this matter, that have been posted all over the internet, regarding the A7r. I even have the impression that many even see the “r” as the underdog of the A7 family, the more now the A7II has been succeeding the A7. Reason is said to be because the “r” has “bad” high ISO performance. … ??!

16659536098_4c32a2ae1f_h

Well, I never experienced that as such anyway. Of course I acknowledge that the “s” has the best low light performance. But I really never experienced that my “r” is falling short in this department, the more while I have so much more pixels at my disposal and I can seriously boost its low light performance by reducing its resolution in post production. After all, there’s a long way to go, before I “drop” to the A7s’s resolution. And when I have a reduction of pixels in mind, I even can perform some “Luminance” in Adobe’s Raw Converter. This isn’t a process without danger though, because it diminishes the detail and needs to be done with great care. So how do I proceed?

16660992299_2e248e70bb_h

Applying Luminance can in a way be compared to applying Unsharp Mask. Both need to be done with great care, otherwise you end up with a result that you really don’t want. Important in both cases is to look at the largest size that you want to use, when fine tuning. When sharpening I guess you’ll look at 100%, probably ending up with some limited sharpening at 0,5px. But when you shoot at very high ISO with the “r” and you want to reduce the size, there’s no use in judging the IQ at 100%. So what I do is applying the Luminance at full size, but judging at for instance 66%. Reducing afterwards the resolution to 66% still gives you a 16MP file. Up till now I often applied this technique with good results for ISO’s up to about 4000, largely reducing the gap with the “s”. (I don’t proclaim that it eliminates it completely.)

16639828707_4e02f6b53a_h

In one of his articles Steve stated about the next Leica M that it had to deliver acceptable IQ at 12800 ISO. I guess he often shoot with less light than I do, because I really never need that kind of ISO. Still it encouraged me to go for an little experiment. So I just put the ISO at 12800 and went for some shots, seeing where I would end up. In the pictures hereunder, you can see the result. Of course there is some more grain than at low ISO (but the “s” as well produces grain at higher ISO’s), still I can say that I was pleasantly surprised with this IQ and, again IMO, I’d call this IQ very acceptable for sure. BTW, looking online for A7s pictures, I didn’t really find a lot of pictures, shot at this ISO, let alone higher, even not at sites that call themselves specialized in high ISO.

16227188103_699f62e3f5_b

As I wrote in a former article, IMO the A7r offers very good high ISO performance. Of course it’s outclassed by the “s”. But when processing the pics as described, one can come a long way, reducing the gap enough for me to largely prefer “r”. Personally, I definitely prefer this sensor, that offers me very good ISO as well as superb resolution. I rank it well above the 12MP sensor of the “s” that is too dedicated to situations that I virtually never meet. Again IMO.

To conclude, with the A7rII coming very soon now, that will offer even better IQ than the present “r”, that will feature the new and improved body of the A7II and the silent shutter of the “s” (if I’m well-informed), the high-resolution version within the A7 family will more than ever be thé way to go for me.

16670270899_19ddfbbffb_h

16668794138_71bd1357d5_h

16670258169_2739429b47_h

16855358521_cec25d25c2_b

All shots posted here were shot at 12800 ISO, even although it really wasn’t necessary. But, like I said, this was an experiment. Although I’d normally would have taken all of those shots quite a bit slower, putting the ISO that high resulted in producing a certain character, a character that one really can look for – like one used to (or still can) choose a very fast film for its grain. When shooting digital, part of this “creative process” needs to be done in post, and needs to be repeated with every picture. But I’m sure, with some experience, one can do it pretty fast.

For the first four pictures, shot in the garage, I used the Zeiss Loxia 2/50. The next four were shot with the Canon Lens FD 85mm 1:1.2 S.S.C. Aspherical, which is still one of my favorite 85s. As said, the resolution was reduced, but in all pics it still exceeds the A7s resolution. Don’t forget to click on them for a better quality. And on my flickr pages, you can find a dedicated album, called “12800 ISO”, with all those pics in full resolution.

https://www.flickr.com/photos/keepnitgood/sets/72157650993342429/

Thanks for reading to everybody and for publishing to Steve and Brandon. This site really is the best, don’t you think!…

Apr 062015
 

Picture 1

A Change Of Perspective – The Voigtlander 15mm f/4.5 III

By Alan Schaller – My Flickr linkhttps://www.flickr.com/photos/alanschaller/

Buy the 15 lens HERE at CameraQuest or HERE at B&H Photo

Hello everyone. First off, a big thank you to Steve for giving me the opportunity to write again on his great site.

I heard very good things about the first and second versions of the Voigtlander 15mm f/4.5, namely their low price, compact size and classy rendering. They were however known to colour shift on the M9, M240 and the A7 series, meaning many digital users used the lens as a black and white tool. From what I can tell from my pictures colour shifting has been completely sorted in this third version of the lens, which of course is a great thing. Also worth mentioning is the incredible lack of distortion.

I happened to have a holiday booked to the South of France a few days after I received my lens, and thought it would be the perfect place to let this super wide-angle flex its muscles! The region I went to (The Côte d’Azur) features crazily photogenic villages, street scenes, the sea and mountainous areas, so I had a lot fun shooting in a variety of environments with the 15mm on my Sony A7s and Leica Monochrom. The shots in this review were all taken on that trip.

Sony A7s ISO 2500 – f/4.5 – 1/40 sec

Picture 2

I had not extensively used a lens wider than a 35mm before getting this 15mm prime. My main reason for buying a super wide angle lens was to shake up my shooting style. I can confirm that it has, and recommend trying one if you haven’t already! I enjoy the 50mm focal length most of all, and being so used to looking for photo opportunities through the ‘eye’ of a 50, what I was seeing through the 15mm viewfinder initially seemed almost comical. The first day I had the lens, I walked around London with it on the Monochrom, initially marvelling like a child at how I could get whole buildings in frame whilst standing a few meters away from them.

I eventually calmed down and started thinking about how I could get the most out of my new lens. It seemed immediately obvious that it would be useful for shooting landscapes or epic sky scenes, but being primarily a street photographer, I wanted to try and use it on the streets too. Initial test shots proved this to be tricky! A lot of the time you have to get extremely close to the subject to make an interesting shot. The silent shutter on the A7s made me feel more confident to do so. It’s something I am going to enjoy experimenting with.

The thing I have found most interesting and creatively rewarding about using this super wide angle lens is the way it presents an image with such an unfamiliar perspective to the human eye. A 50mm lens is great as it is so familiar to our field of view, but I am really interested by the way this lens is so unfamiliar. Certain scenes that would be very mundane with a standard focal length can become surprisingly interesting when you use a super wide angle. This one was taken on the plane going to France:

Leica Monochrom – ISO 320 – f/4.5 – 1/30 sec

Picture 3

The Monochrom gets on very nicely with this lens! Images are detailed and have great contrast. If you stop down to f/8 the depth of field is impressive. Also, as the DOF is so deep on a lens this wide, at f8 the lens is focusing from its closest point of 0.5 meters all the way to infinity, so there is zero need to adjust focus! This is a welcome attribute as it takes more consideration to get a shot perfect with a 15mm due to the extra surrounding context inevitably being in frame, and not having to worry about nailing focus helps speed up the whole process.

I have found sharpening to be totally unnecessary when using this lens on the Mono. This lens and camera combo feels great to use, and is perfect in terms of size and weight. They feel seriously solid together in the hand, and look great too! Same goes when it is used on the A7s. It feels well-balanced.

I expected the lens to work fantastically on the Monochrom (as the previous version did too), but I have been super impressed with the results on my Sony A7s. The colour is to die for!

Sony A7s – ISO 100 – f/8 – 1/200 sec

Picture 4

Sony A7s – ISO 100 – f/8 – 1/250 sec

Picture 5

As many people know the A7s is a low light monster, which meant I could shoot at any time of night despite the fact that this is a pretty slow lens. Simply crank the ISO to 8 or 10 thousand and snap away handheld, knowing the images will retain great detail and colour. Simple! As I mentioned before, the edges retain their colour well, even under pixel peeping scrutiny, so hats off to Voigtlander for taking the time and putting in the R&D to revise this lens so well for digital sensors. Chromatic aberration seems very well controlled, but can still be spotted if you pixel peep. I am sure Voigtlander will sell many of these, as the price, although an increase from the previous generations of the f/4.5 15, is still way way below the outlay for similar offerings from Leica or Zeiss. Despite being relatively cheap, the lens is built excellently, has a metal hood and body, and takes sensible 58mm filters. Most importantly, from what I can tell, the image quality is right up there with those more pricey offerings from Leica and Zeiss.

Leica Monchrom – ISO 320 – f/5.7 – 1/125 sec

Picture 6

I can already tell that this lens is a keeper, which means more of my shots taken with this lens will be going up on my Flickr page for the foreseeable future! So if you are interested in seeing more shots, feel free to have a look!

https://www.flickr.com/photos/alanschaller/

Apr 022015
 

There is no “I” in Team

by John Tuckey

Team Efforts

I wouldn’t advise anyone to overload a shoot with unnecessary bodies. The fewer people cluttering your space, the better. The less people to organise the better. It’s an absolute if you’re trying to create a sense of intimacy or intrigue and a simple practicality when you’re working to a budget or a tight time scale as most of us are. But ‘one man and his lens’ is not always enough – indeed, modern professional work is hardly ever created so. It’s a creative collaboration between the photographer, an art director, a stylist, a make up artist, a hair stylist, a lighting technician and possibly a set dresser. That amazing image in magazine ‘X’ is usually the result of a tight team who have a good working dynamic – not ‘one man and his lens’.

If you’re thinking about crossing this river and working your shots with a team it can be daunting at first. My advice is to keep it simple and pick your team carefully, don’t waste your resources and know who you can and can’t live without. I get my moments, but I’m still no pro – so I won’t worry about an assistant until i try a complicated location set-up. And a stylist isn’t even on my list unless I get involved in a commercial fashion shoot and the client specifically requests one – and even then they will probably be chosen by the art director.

So I’d suggest that for an amateur or hobbyist, the bodies to make sure you have covered on a model orientated shoot are the make up artist and the hair stylist. Sometimes the model can cover this off herself, but indispensable doesn’t even come close to describing the best I’ve worked with. And without even thinking I can give you three very good reasons why they’re always worth stretching the budget for.

Transformation

A skilled makeup artist can simply transform a face. Try these two of Emily, one with ‘normal’ self done makeup and the Next from a Make Up artist.

emily-1

emily-2

The Devil is in the Detail

Much of my work revolves around vintage themes. Having the right make up or a particular hair style makes the world of difference. In these portraits of Olivia, the lighting may well have achieved the look on its own, but the work of the hair stylist in those thirties style fingerwaves added the polish – making the vintage feel of the final image effortless and complete.

olivia-1

olivia-2

olivia-film

Tricks, Shortcuts and FX

These Lonsdale shots aren’t just about beauty and boxing, but also strength, character and control. The make up artist on this shoot pulled the FX off with ease: Jammy the model was engaged with the concept and we got some great shots as a result.

jammy-1

jammy-2

jammy-film

Saving Time in Post

Doesn’t digital mean make up artists are a waste of money? If you don’t think of the hours you’ll spend in post-production as money, then I’ll grant you that a hair or make up artist might not be your best use of budget. But I’d rather get it right for real on the day and trade that time in front of a screen for more time with a camera thanks – a good MUA allows that.

If you are interested in my images or my workshops you can follow me on facebook at http://www.facebook/jrtvintage, on twitter where I’m @jrtvintage, at my own site at http://john.tuckey.photography or on my gallery page at Saatchi Art http://www.saatchiart.com/jrtvintage

Credits:

Models: Emily, Olivia Harriett, and Jammy Lou
http://purpleport.com/portfolio/oliviaharriet/
http://purpleport.com/portfolio/raspberryjam/

Emily and Jammys Make Up: James Minahan

https://www.facebook.com/pages/James-Minahan-Makeup-artist/482722908502345?pnref=lhc

Olivia’s Hair: Le Keux Salon
http://www.lekeuxvintagesalon.co.uk/
Best regards

John Tuckey

Mar 262015
 

Infiniti Showcar Run - Austin, TX

USER REPORT: The New Sony 28 f/2 on the Sony A7S and A7II…BAM!

by Chad Wadsworth – his website is HERE!

Last week the FedEx guy delivered a box on loan from Sony containing a couple of much-anticipated new FE primes. The 35/1.4 is as good as Steve reported – a near perfect balance of center resolution and bokeh – but what about the little FE 28/2?

61om6hVbFkL._SL1200_

I’m a big fan of the 28mm fov and have owned a few highly regarded lenses (C/Y Zeiss 28/2.8, Zeiss 28/2.8 G, M-Rokkor 28/2.8 & Minolta AF 28/2) and film compacts (Minolta TC-1, Ricoh GR1), so there was a personal expectation for Sony to deliver a modern equivalent of the Minolta AF 28/2.

After a few days shooting and editing, a few things are clear: this little guy is shockingly sharp, renders out of focus transitions smoothly and transmits color with pop. With a price tag under $450, compact size and quick AF, there is little fault to find with. You will notice some minor distortion that should easily be handled by a PS or LR profile, but other than that…no complaints. (Pre-Order it Here at Amazon) – (Pre-order it HERE at B&H Photo)

Early web samples had some forum “experts” calling the bokeh nervous, but my results indicate a good amount of “cream” especially in the foreground. A 28mm is never going to draw the bokeh of a portrait lens but what this lens does produce is attractive to my taste. Samples here are from RAW and processed in LR – most are shot wide open. Stopping down quickly improves the corners but even at f/2 the subject sharpness is just amazing. (From Steve: I also have this lens now and it is just as Chad Describes..a MUST OWN for any A7 series shooter)

With this kind of price/performance level, I hope users reward the FE 28mm with big sales and Sony takes note of the demand for compact, high quality f/2 lenses at reasonable price points. Up to now, I’ve held onto my Minolta AF 28/2, waiting to see if this new FE 28/2 could replace it – I think it is time to let it go…

click images for larger and much better and sharper view!

1st FOUR were shot on the A7II, rest were A7s

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Mick Jenkins - Lifestyle

Venue

Mick Jenkins - Lifestyle

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Feb 252015
 

DSC_1401

Low light photography with the Nikon V3

By Aspen Z

Hi Steve and Brandon, it’s great to be here again! The last time I posted was when I took the V2 to South Africa where it did the entirety of the trip. Since then, I’ve done many more excursions with it and from the tone of that post it shouldn’t be a surprise that I upgraded to the V3 as soon as it was out.

nikon-1-v3

Most recently, I embarked on a solo trip to Norway with the primary intention of seeing (weather/solar activity permitting) the auroras- a phenomenon I’ve always been fascinated with since young and somewhat sceptical of. Dancing lights of varying colours? Hmm…

There was just a single snowy day spent in Stockholm mainly for ease of flights, but it turned out to be very interesting a place and I’m definitely gonna give it a proper visit someday. For some reason, none of the locals knew where the Nobel Museum was and I found it in a square after crossing a secluded alleyway in Gamla Stan.

Arriving in Tromsø, with skies deep blue, I was abruptly reminded of the possible challenges ahead; polar night just ended and there was no true day to speak of. It meant working with ISOs I’m not usually comfortable with on the V3. I’d admit that there were at least two occasions before the trip I hesitated getting another camera (namely D750) so that I wouldn’t need to fret about noise. Besides, I’ve never photographed the auroras before and common advice online suggested full-frame cameras, fast lenses and possible weather-proofing. There was no telling if the V3 would fail me on multiple levels.

DSC_1481-2

DSC_1582

DSC_1401

I did learn a few things, some are tips from the perspective of a first-time aurora shooter, others just discoveries in general.

1) Unofficially, the V3 handles up to -16°C or heavy snow with no problem. I frankly believe most modern cameras can perform in conditions beyond their ‘limits’, much like how the Galaxy S5 can go underwater but isn’t given a special mention for it likely due to unnecessary warranty claims.

2) Test run a shot, i.e. do the highest ISO possible on your camera with a shorter shutter speed and adjust as needed. Suggestions of ISOs, exposure times and other aspects vary wildly from site to site and there’s no telling what light conditions were present or lens they used for such settings. Unfortunately for the V3, the sightings were during the new moon so the landscapes were very dark. Worse still, there’s not a fast ultra-wide lens for the N1 and it meant working with a relatively slow f/3.5. 90% of my shots warranted 15-30 seconds shutter speed with ISOs 1600/3200. These settings are typically not recommended due to noise (and they’re referring to full-frame!) but I knew trying ISO 800 and pushing up exposure was much worse in the V3. My focus was manually adjusted to infinity dialled back a notch. Be sure to check beforehand how long a shutter speed you can pull off before star trails become a problem.

2) The V3’s virtual level was immensely helpful (note: not the same as grid lines!). Except for the occasional compositional advantage, I couldn’t afford to crop with such light conditions/settings and wasting it on straightening horizons is entirely avoidable! Also, the tiltable touchscreen meant easy adjustments and no need for remote shutter.

3) The batteries drain faster but no faster than constantly using AF-C for motorsports/birding (in terms of duration). Warming up a frigid battery did restore some of its charge. I got through a night with two batteries, each left with the final bar of charge.

DSC_1222_DxO-2

DSC_1669_DxO-2

DSC_1750_DxO-2

Autofocus, as with its predecessors, was a joy to use and very swift even in poor light. At no point did the V3 falter and the magical twilight colours of Tromsø were captured accurately. The N1 lenses in general have stunningly good stabilization (rivalling IBIS?) and typically give you 5 stops of advantage (with the infrequent 6-7 stops from time to time on telephoto lenses). Viewing Tromsø after a cable car ride, I decided to settle with the 32 prime for composition, forcing ISO 6400 due to no stabilization, and it was then I really missed the lenses with VR. Reine was my last destination and I was greeted with much milder weather. The days were just a bit longer and the bright red Rorbu cabins with seaweed sprawling along the intertidal zone lent contrast to the dull light and snowy mountains.

DSC_1880_DxO_1-2

DSC_1917_DxO_1-2

The auroras were indescribably amazing, with many colours in every form and shape, and they would disappear, capriciously, at times, only to reappear with greater intensity than before. They renewed in me a sense of awe so rarely experienced after childhood. My photos might have been better with a full-frame camera but I’m pleased with the V3’s output and glad that it shared such an experience with me.

More photos to be found here:

https://www.flickr.com/photos/aspenz/sets/

BUY: The Nikon V3 is available at Amazon.

Feb 102015
 

Second go with the Leica M Monochrom

By Chris H

Not long ago, I published my first blog post via stevehuffphoto.com (Many thanks to Steve for sharing my write up) about my first serious experience with the Leica M Monochrom + Vintage LTM lenses in Paris.

leica-ralph-gibson-m-monochrom-4-650x433-c

The Leica M Monochrom has definitely sparked my passion for black and white photography.  I love shooting in black and white but was never as motivated until owning the Leica M Monochrom.  One of the main reasons is because the Leica M Monochrom leaves me no alternatives but to shoot in black and white.  There were times that I struggled to generate great black and white frames but the more I struggled, the harder I pushed myself.  I love keeping myself at the limit because that’s where you unleash your full potential.  Some people might ask why did I not keep a color camera in hand but that is because I like to be completely focused on the one thing I wish to master.  From time to time I seek challenges, keeping myself out of the comfort zone is a method to achieve improvement.

Tokyo, Japan is one of my favourite capitals as it has some of the most astonishing architecture, countless vintage camera stores and of course Japanese food allowing me to enjoy more than 3 meals per day.  Being a frequent traveller, I am always impressed by what I see but to also be able to capture it exactly as how I felt at that moment is not easy.  Often one perfect frame which I already have in mind will take quite long to reproduce through my camera and lens.  This time I have decided to explore a very unfamiliar focal length – 21mm   Knowing that it might not be easy to use since the Leica M 21 F/1.4 ASPH is not a shift lens (I love lenses with shift movement for shooting architecture / landscape) plus the widest focal length I experienced is 28mm.  Being a first timer with the 21mm I had this fear which I might not able to cope with such wide perspective in such a short matter of time.  Finder choice, I picked the Universal Wide-angle Viewfinder.  Yes, not many people like it due to the look, plus it adds weight and size to the M but for me I value its practicality..  It is bright, like a TV screen and features that beloved leveler.  The leveler is a star because I dislike correcting perspective in post-production; dragging or cropping pixels are never a good thing.  For a filter option, I went for a normal UV MRC by B+W which I did not prefer too much and would have loved to have a yellow filter (rarely in stock in Hong Kong) for boosting the shadow detail a little.

First location – Tokyo International Forum

This is a masterpiece location which I visited as part of an architectural tour almost 10 years ago.  There are only bits and pieces in my memory which I can recall unfortunately.  Being able to return and appreciate this beauty after so long has made me very emotional.  The camera was kept in the bag for the first 45 minutes or so after arriving on site. I just wanted to focus on enjoying the atmosphere and every bit of detail like the materials, shape and structure which formed this amazing art piece.  As time went on, the sun found its way out of the clouds.  I have noticed some amazing shadows being cast on the ground through the curtain wall and roof structures.  Walking up and down, standing and kneeling.  People at the Tokyo International Forum must have thought I am a strange person but I could not care less because I knew that there was not much time left for me to enjoy this ultimate wonderland and to make the most of it, I had to focus.  As a first timer to the 21mm the final images are very encouraging; I am pretty much in love with this focal length.

Understand one thing, shooting a non Tilt-shift ultra wide forces you to work harder on composition.  The Leica M 21 F1.4 Summilux Asph is extremely sharp even at wide open (if you own a good copy); to me, stopping down is for extra depth of view plus getting rid of the slight vignette.  There is a bit of pincushion distortion at the edges but is totally acceptable as such fast aperture ultra wide is not easy to design.  Running the lens profile option through Lightroom 4 can correct the distortion instantly.

Second Location – Tokyo Sky Deck

An awesome location that allows you to capture Tokyo’s skyline and sunset without having massive glass windows in front killing the image quality!  Even though you are not that into photography, it is a great location to spend an afternoon with your loved ones.  As the sun goes down, seeing Tokyo lighting up slowly, the atmosphere is just incredible.  If you want a good spot, please be sure you arrive early because there were plenty of photographers that were already there in the early afternoon.

Pre-Owned Leica items

Thanks to the super guide by Tokyo camera style, I was able to check out a few vintage camera stores around Tokyo.  Price wise was not very attractive but you can always find mint to like new condition items in Japan. Therefore if you are looking for collector grade items, Japan is the place to go!

http://kenshukan.net/john/archives/2013/12/26/tokyo-photo-travel-guide-part-2-shinjuku-camera-shop-walk/

I could never get enough of Tokyo.  Revisiting is the only option!

I hope you all enjoy the images. Please be sure to leave any comments and feedback by either emailing me or leaving me a message on my Facebook page! Thank you!

Instagram: FotografiePorter

Facebook page: https://www.facebook.com/FotografiePorter

Website:  www.FotografiePorter.com

unnamed

unnamed

unnamed

unnamed

unnamed

unnamed

unnamed

unnamed

unnamed

unnamed

unnamed

Feb 102015
 

The Light Weight Really Matters!

By Mohamed Hakem

I’ve written before on how Fuji helped me unhinge new passion in the street photography but now I’m back with a new experience. After the switched from DSLR (Nikon D800) to Mirrorless (Fuji X-T1). I wrote before on how this switch helped me discover new genres in photography as street and people. But what I couldn’t imagine is that the mirrorless could outperform the DSLRs in landscape also! I am a landscape photographer and I’ve been a loyal Nikon user all my life. Coming from a monster in the shape of a camera (D800) made me see all other cameras as toys. Huge dynamic range and massive pixels. When I first got into the Fuji’s I was never expecting that it will one day be my main camera and replace the D800, and it did!

DSCF0982

DSCF1083

People tend to look at the technical factors only; dynamic range, color depth and charts and come up with a conclusion that DSLRs are much better for landscape. Yes the D800 is much more capable on paper than the fuji, but the fuji can come to you to places that the D800 would be a burden! The Fuji can provide colors and of the nature and sand the Nikon never ever did provide!

DSCF1029

DSCF1778

I was going to a hike in Mount Mousa , Sinai,Egypt. This is the second highest mountain in all Egypt 2422m above sea level and it has extremely rough terrain. Its a challenge for an unexperienced hiker like me. Its an over night non stop climb that lasts for 5 hours and you stay up there for 2 hours then come back. So you have to save your energy as everybody will go up there to rest while you will be setting up for your shots. Everybody’s major tip was leave behind all unnecessary things. for me I carried the fuji X-T1, 10-24, 55-200 and 8mm samyung lens and a small 3leggedthing tripod. As we climbed things got heavier and heavier and it was really hard towards the end but we made it.

DSCF0871

DSCF0834

DSCF0923

I never thought of climbing a mountain before as I would die if I go up without a camera and my corresponding Nikon setup would be (Nikon D800 1KG, 14-24 1KG, 70-200 2KG, tripod 3KG. fisheye 0.5KG. and a decent backpack would sum up to roughly 10KGs! All of this on my back and I could barely walk! Compare this to a 3KG of the Fuji system. So I went up, setup my equipment and was really happy with the results and they sold well on my website. If I were to take the Nikon I would have either gave up during the climb or would have reached the top with no strength to compose and shoot!

DSCF0802

DSCF1015

DSCF0971

Facebook Page: http://facebook.com/hakemphotography

Website: www.hakemphotography.com

500px: 500px.com/hakem

Feb 092015
 

The Fuji X-Pro 1..My “Soulmate” Camera

by Christina Davis

Thank you for letting me share, once again, with the readers here on this site. I am a Fujifilm camera user (X-Photographer wannabe….I can dream, can’t I?). I sold off all of my DSLR equipment and the XPro1 was my main camera. Like many Fuji enthusiasts I, too, got one of the X-T1 cameras when they came out. While I was less than thrilled with the form, the performance was as described and I happily shot away with it all spring and summer this year. In fact, the XPro1 was gathering dust and as August rolled around, I was considering letting it go. As I thought it over I remembered one photo I took this summer with it. On an outing to The Huntington in Pasadena, California, I took the XT1 and the XPro1. I put on the 18mm lens on the XPro1 “just in case”. Well, this is the photo I made with that “just in case” set up:

cldavis1

That picture drew me in – it spoke to me, if you will. The tones I got out of the XPro1 that day were far and above any taken by the X-T1 on that same day. So I pondered my decision to sell the XPro1 and then I decided to put the X-T1 aside, except for shooting my son’s sports, and focus once again on using the XPro1. I have been using the XPro1 almost daily since the end of August. It just feels right and even when I do use it for sports shooting, the handling and shooting experience are much more satisfying. The set-up in camera is different and I get many fewer action shots with the XPro1, but it is still possible to shoot a soccer game with it.

On a nit-picky level, one of my biggest issues with the X-T1 was the placement of the movie mode button. I was used to changing ISO on the XPro1 with the function (Fn) button. It is quick, easy and I don’t have to take the camera away from my eye to change ISO settings while in the process of shooting. It just works for me. I can’t count the number of times, while shooting with the X-T1, that I engaged the movie mode. Even while shooting for a number of months on end of the X-T1, that reflex to change ISO with my shooting finger never went away.

cldavis2

Another thing I notice is the original X-Trans sensor is just a little more….subtle? I can’t put it into words, but there is a difference in the way the original iteration of the X-Trans sensor handles the files when compared to those from the updated sensor in the X-T1. Both are perfectly fine and produce wonderful files. I just find the original X-Trans sensor output more pleasing to my eye and taste.

cldavis4

Old habits die hard. How many times did I open the battery door to remove the SD card in the X-T1? Every. Single. Time. Every time I went to download the photos, I looked for the card under the battery door. Also, my SD card door on the X-T1 opened up on me constantly while out and about. Minor? Oh yes! Annoying? Yes.

cldavis6

cldavis7

Feeling in hand? I like the rangefinder styling of the XPro1 over the slr styling of the X-T1. I mentioned in the first paragraph that I was a little disappointed with the style of the X-T1. It handles just fine, I don’t have any major complaints at all – just the minor ones I noted above, but it does not give me the same shooting experience, tactile experience, as I get when holding and using the XPro1.
When I jumped into Fuji I lusted after the XPro1 but avoided it for months due to higher price. I finally broke down and got one, used it and love it – then put it aside for something newer. Now, I can’t believe I actually considered getting rid of it. It is my main camera and camera of choice with the Fuji 35mm lens. I still have the X-T1. It is great for shooting my son’s soccer and football games with the 55-200 lens. I won’t get rid of it, either.

cldavis3

As corny as it sounds, the XPro1 is my soul-mate camera…unless the X100T takes its place. It is a never-ending cycle of newer and better and I do fall victim to liking the shiny new toys. With the layout and style of the X100T….only time will tell.

If you like what you see, you can see what I’m up to on Instagram @cldavisphotography.

Thanks for letting me share with you again!

Best to you all,
Chris Davis

Jan 282015
 

Dirt Cheap Mirrorless Fun

By Ben Bird

As many of the guest contributors before me have done I want to thank Steve and Brandon for a chance to share my experiences with all of the other readers of Steve’s website. I hope you will find it as enjoyable to read as I have many of your reviews! (Thanks Ben!! – Steve)

I don’t have any exotic gear to review for you, no ultra-rare vintage glass that has been found in an attic and saved from the brink of extinction… nothing terribly exciting… what I do have for you all is a review of a dirt cheap and very fun mirrorless setup that I have been beating around with a lot of average and common legacy glass on some adapters.

Let me back up a bit and give you some context…

(I can assure you it isn’t anything special. You could probably guess the next few paragraphs and be spot on!)
I have been a Canon DSLR shooter for 12 years. I started out with a Rebel XT then moved on to a 20D, a 40D, a 5D Classic and recently a 6D.

I take pictures of anything and everything. I have photographed weddings as a Primary and a second shooter off and on over the last 6 years. I also did portraits, families shoots, seniors and events, but have since retired from those pursuits. I shoot a lot of candid portrait work and spend a lot of my shutter time with family and friends socially.

I also work part-time photographing an amazing local motorcycle shop here in Lincoln Nebraska called Great Plains Cycle Supply. I document the employees, customers, and events for their social media and websites. (Check them out!)

My current full-time day job allows me to work outdoors and I attempt to take my camera with me at all times, never going anywhere without it tagging along… but as we all have experienced, that isn’t always possible.

Eventually the hassle got to me and I started to leave the DSLR at home more and more often.

While I have enjoyed the image quality of my DSLR’s I have long been pining for something smaller and more discreet. The heartbreak of missing a really amazing photo because I simply didn’t want to take my big DSLR along was really taking it’s toll on me. And of course… who doesn’t want to get closer and be ignored more when taking candid photographs of people?

Tou Five Star 1

Ultron 4

As you have no doubt realized, it’s going to be another one of “those” reviews… DSLR to mirrorless… we’ve all read them, and everyone is doing it these days… so I will try to hurry past some of the more cliché parts and spend a little more time on what I can offer that is unique.

I really wanted to try a mirrorless system and see if I could make it work for me… but I was concerned that being a full frame DSLR shooter for so long I would never be able to “let go” of my obsession with full frame “look” and embrace the crop sensor files.

Fortunately I have the internet… and if there is one thing I know how to do well; its kill hours of my life while looking at photographs on the web!

I spent a lot of time enjoying thousands of photos taken with mirrorless cameras and at some point I realized I had forgotten that I was supposed to be analyzing the image quality of the photos and had just been enjoying the photographs! The image quality has ceased to be that big of an issue for me… and I also had realized that no matter how amazing the full frame files looked… if that full frame camera wasn’t with me when the photo presented itself… the photos would never be taken at all… and all that sexy full frame goodness was going to waste at home in the camera bag.

Finally I came to the conclusion I had to try for myself. In my circle of friends the only mirrorless cameras were a couple of Fuji’s. So I borrowed an X100 from my friend and took it for a couple of test drives.

And I was disgusted.

I couldn’t get the camera to cooperate with me; I couldn’t take a decent photo to save my life. I worked and worked and was constantly frustrated. But worst of all… I couldn’t seem to do anything to the Fuji files to make them work for me. I was crushed. I was so ready to be on board… I had seen loads of beautiful Fuji photos, so I knew that the system COULD work… but I couldn’t seem to get the hang of it.

I threw up my hands in disgust and went back to my DSLR’s and said I would never switch over to Fuji.

But, the years went by… and I saw more and more beautiful photos taken not only with Fuji, but also with the other mirrorless systems.

I forgot my disgust and frustration and started to daydream of the day I could carry a tiny discreet camera around my neck all the time.

I tried other systems in the camera stores. I lusted after the RX1 and RX1R, the OMD’s the A7’s and thought that maybe they could work for me but everything was out of reach financially.

A friend of mine had recently left Canon and bought a used X100s and an X Pro 1 for not a lot of money and was making beautiful photos with them on a regular basis. He encouraged me that working with the Fuji files was indeed different and that I should be patient and give it some time before I ruled out Fuji entirely.

I would look at the work done by so many of the great photographers on the web and all of the great reader reviews on this site and say to myself:

“Clearly it can be done right. Why can’t I do that? It has got to be me and not the cameras fault. “

Finally I’d had enough… I decided I had to jump in and actually put the hours into learning the system and stop blaming the equipment. After all… that IS what I preach day in and day out: It’s the photographer… not the camera that makes great photos. I was being a hypocrite.

So it was way past time for me to put my money where my mouth was!

It just so happened that my bank account and I weren’t on speaking terms at the time, so I couldn’t just rush out and snatch up a new system.

So, I looked for the cheapest possible way to start shooting Fuji… and I found a mint condition used XE-1 for 300$. I knew I wouldn’t be able to afford glass for a long time, but I had some old manual lenses In the house… some M42, some Nikon and even an old Voigtlander 35mm f/1.7 Ultron that I could use on the Fuji with some adapters.

So I pulled the trigger and got the XE-1 and an adapter for the Voigtlander.

Well… I wish I could say it was a match made in heaven… but it wasn’t.

There were a lot of teething problems and I spent most of my time cussing the Ultron and trying to get the hang of the incredibly bad minimum focusing distance of the lens (somewhere around 2-2.5 feet!) I am so used to being able to shoot closer that it really threw me off. I could never tell if the lens was just a little soft or if I was just always blowing my focus.

Eventually I got a few shots I liked, and started to get the hang of the XE-1… but my poor manual focusing ability and the Ultron butted heads constantly.

Ultron 3

Super Takumar 50 4

Nikkor 50mm 3

Perhaps I should say a word about the XE-1’s focus peaking here:

While I am grateful for the focusing aid, and it does indeed help me some days… it’s not as fool-proof or precise as it was made out to be to me by some. Perhaps I haven’t gotten it set up right, or am missing something but I can also say there is a HUGE difference on my XE-1 on how the focus peaking works in the viewfinder and the rear LCD. It is MUCH easier to see on the rear LCD and it feels as though it is barely working in the viewfinder. It also seems to work better with some of the other lenses I ended up using on the XE-1 later on down the road.

And for whatever reason… my copy of the Ultron doesn’t seem to play well with the focus peaking. It’s a shame… because the Ultron is the smallest , lightest and the fastest focusing lens I have and I really thought it would be my favorite lens for the Fuji… but it has turned to be a bear for me to nail focus with.

I have a few good shots from the Ultron to share, but let me say it was a LOT of work to get those few shots! My hit rate was terrible!

So, as I was struggling so much I borrowed some adapters from a friend for my M42 and Nikon lenses to see if they would work any better.

At this point I was also still struggling greatly with the Fuji files, and not really able to consistently make photos that I liked.

Part of it was me still trying to learn how the camera “read the light” and where it’s sweet spots were. And another part of it was not finding a look in post that made me happy.

I was very frustrated again and starting to doubt my decision all over again. At this point I was only shooting RAW and bumbling around in Lightroom with every shot.

I decided it was time to try the famous Fuji Jpegs that I had read so much about… so I switched the XE-1 over to Jpeg, fiddled with the settings, put my Super Takumar 50mm F/1.4 onto the Fuji and started playing again.

Well, right away I felt better about the purchase… the Takumar was sharp, as well as having a buttery smooth focus ring. Focus peaking seemed to show up a little better than with the Ultron. However… on the down side… the Takumar was much heavier, and the focusing while being more precise… was much slower and the focus ring has a much longer throw from stop to stop.

So, I had found a lens that started to work well, and I made a little progress with the Jpeg settings. However, I decided I really needed to buckle down and sort out the Jpegs before I went any further.

I spent about a week of hardcore testing with all the jpeg settings in camera. Shooting, comparing and pixel peeping to try to figure out what I liked and how they all worked for me in post.

Eventually I found a setup that allowed me a good starting point with the Jpegs that would allow me to process them in any direction I liked… for the most part.

The color was mostly there and I liked the way they converted to black and white after the fact in Lightroom.

So I started to work with just a single default Jpeg setup that allowed me a consistent baseline to try the various lenses in all sorts of lighting situations so I could learn the sensor and lenses personalities better.

This alone made such a huge difference in my Fuji learning curve… just having a stable baseline to always work off of.

Nikkor 50mm 1

Micro Nikkor 3

Tou Five Star 6

Tou Five Star 7

Tou Five Star 6

These are the settings I finally settled on:

ISO Auto 200-6400 range

DR 100

WB auto

NR -2

Fine Jpegs

Astia film simulation

Highlight Tone +1

Shadow Tone +2

Color +2

Sharp -2

Obviously, settings are very personal and this may not work for anyone else, but this is where I start from with every one of my photographs now.

After I got that sorted out I went back to my lens experiments.

Next up was my Super Takumar 35mm F/2. A beautiful looking lens, that is really quite large and heavy. I really thought this lens was going to knock me out of the park. Out of all my legacy lenses this tank has highest quality FEEL to it, and a fairly stiffly dampened focus ring. I also wrongly assumed that at F/2 it would be very sharp wide open.

Well… it’s not. It’s a little soft all over and only a little sharper in the middle. I was disappointed by how much the stiff dampening slowed down my manual focusing on moving subjects and frequently missed shots.

I struggled to find a good way to use this lens and was about to give up and put it back on the shelf when one early morning I took a few flower shots to stay busy and I checked the screen and OH MY GOSH!! WHAT JUST HAPPENED?!

The out of focus rendering when wide open on this lens in AMAZING with the right background, light and distance to your background.
I know this sort of rendering isn’t for everyone… but WOW… this lens has some serious character in the right situations!

Tou Five Star 4

Tou Five Star 5

Micro Nikkor 1

Super Takumar 35 5

Super Takumar 35 2

See for yourself… I can’t say much for the weight or the handling as it adds a LOT of weight and size to the little Fuji, but I pull this guy out whenever I want to take some photos where sharpness isn’t critical with some interesting bokeh in the background. I haven’t even come close to exploring this lenses potential but I am most certainly not going to be selling this one anytime soon.

Around this time I realized that I was really getting to enjoy the EVF a lot on the XE-1 when the light was nice. Lots have been written about both Fuji’s EVF’s in general and the lagging of the older models viewfinders and/or LCD screens in low light so I won’t try to quantify it for you in this review but I can say that:

a) (The older models) They leave a lot to be desired in low light.

b) They can be really great to use regardless of the shortcomings.

In nice light it’s really fun and relaxing to use. What you see is what you get. Quite a nice change of pace from the chimping we have come to assume is mandatory with our OVF’s of old.

(Like I said, all of this is old news these days and every “DSLR to mirrorless” review has already broke ground with all these points so I don’t have any shocking revelations for you!)

The camera’s ergonomics were growing on me as well. While using my legacy lenses really makes the XE-1 quite unbalanced and “nose heavy” at times, it is still pretty fun to use and hold. After spending some time with my Super Takumars, I pulled out my Nikkor 50mm F/2 AI and mounted it up.

First impressions were that it was a pretty light lens compared to the Super Takumars and it was quite enjoyable to focus with as well!

The Nikkor has a very lightly dampened focus ring and a very fast action with a pretty short throw stop to stop that makes it very quick to focus and to date is my favorite legacy lens to focus out of my small collection.

The focus peaking seemed to be a bit easier to see with this Nikkor as well, and it really makes an easy to use lens if you like this 75mm equivalent focal length.

I enjoy shooting this lens wide open or stopped down to F/2.8 from time to time as a candid portrait lens, or just a general do everything lens with a little more reach. I’m not an expert in this area but I can say it was plenty sharp wide open for me and I never found a problem with the image quality from this lens. Another keeper for me!

Next up was an old Micro Nikkor 55mm F/2.8 macro lens that I use as my primary macro lens on my Canon DSLR’s.

I am already fond of this lens from my years spent with it, so I can tell you with great confidence that it is slow focusing and precise and it gets nice and close just like you want with a good manual macro. I am not sure what else you need to know! It works, it’s cheap, and it allows the Fuji to really get in there!

If that is your thing, then it’s a great cheap way to go! (Sorry… but that’s the bottom line for me. It works well for me, but I am not a hardcore macro user… so your mileage may vary!) I would love to give you more details but that’s really all I have!

Around this time I realized that I was really feeling a huge weight being lifted from my shoulders… I could shoot in Jpeg and not worry about larger memory cards, filling up my precious hard drive space with monster RAW files, Lightroom was working faster (my CPU is getting a little long in the tooth) and I found that I was less concerned with blowing shots.

Ultron 2

Ultron 1

Ultron 5

Nikkor 50mm 2

Tou Five Star 2

Tou Five Star 3

I was trying harder to get the shot exposed and composed the way I wanted it in camera, but if I couldn’t, or I was too slow, or the shot had way too much motion blur… I wasn’t nearly as upset at myself for screwing up a shot… I simply said “oh well” and moved on.

I was clearly relaxing and enjoying photography more now.

But, the flipside was that because I had a hard time confirming that I nailed focus … I ended up taking a LOT more shots to make sure that I got SOMETHING that day. (Thank goodness I was shooting Jpeg!)

I was hedging my bet… which seemed very counterproductive and a little silly to me.

So my time with the XE-1 was being spent wrestling with my desire to nail every shot, get it right… but also to not freak out if I missed something and try to relax and let it go.

It was a confusing time. But slowly I was enjoying it more and more.

I was feeling more and more comfortable with the Fuji files as well. Where they Full Frame Canon files? No. Did they have to be? No.

I haven’t sold my Canon’s yet, and I and I don’t know if I will… but not because I think that one sensor is superior to the other anymore… it’s because I realize they are merely two different ways to render a photo.

Cameras are paintbrushes. Tools. You use different paintbrushes to render a work of art in different ways. You use different tools to do different jobs.

I like the very disparate painting styles of Monet, Davinci, Robert Williams, Salvador Dali, Frank Frazzetta, H.R. Giger, Gil Elvgren, Phil Noto, Simon Bisley, and Alphonse Mucha.

I love the photos of dozens of photographers with very disparate styles like Diado Moriyama, Henri Cartier- Bresson, Joe McNally, Patrick LaRoque, Magdalena Switek, Thierry Nguyen, Gabe Mcclintock, Laurent Nivalle, and Gordon Chalmers just to name a FEW!

All the artists that I love and appreciate use different “brushes” and utilize them in very different ways.

Is one better than another? No. They are merely different… not better.

I had come to realize that I while I hadn’t nailed down the way I preferred to process the Fuji files and they seemed a little mushy to me at times, and I WAS frustrated by the details I was losing here or there compared to my full frame files… I really was becoming quite fond of the way this first generation X Trans sensor rendered photos. It was a look all by itself and I had really grown to love them.

Steve has talked before about how the second generation Fuji sensors can absolutely sing with the right light and the right settings… and he is right… but he is ALSO right that when the ISO’s climb… they can get mushy, muddy and flat looking.

I can say now that I agree with Steve and I prefer the look of the first Gen X-Trans to the high ISO rendering of the second Gen X-trans… but like I said, I had come to find a little charm in the files regardless of the flaws. I am POSITIVE that if I spent more time with a second Gen Fuji sensor I would come to love that look as well… different… not better.

So, as I worked to become more comfortable with my lenses and the new sensor, I was enjoying the learning process more all the time and leaving the DSLR at home pretty often now.

Then one day I realized what was missing from my Fuji experiment: One good do-everything, universal lens.  I really wanted to leave the house with one lens that would do everything (if possible) and have a Fuji setup that worked something like the X100 was designed to be: practical and useful for almost every situation.

I was digging around the web, and hoping to find a cheap option when I checked the back room on a whim… and low and behold… I found an old Minolta XGA that I had forgotten about, with a Tou/Five Star 28mm f/2.8 macro lens attached. Hmm…. That would be about a 42mm equivalent and kind of fast at 2.8. And the close focusing ability would certainly be appreciated.

So I got myself an adapter ordered and crossed my fingers. Well, the day came… I slapped the adapter and lens on the Fuji and took it out for a spin. And it did not disappoint. I can honestly say this is the most practical and enjoyable legacy lens I have ever used. Not flashy, not fancy, not sexy, not rare, it doesn’t have tons of character… it is just really handy for all kinds of photos.

It’s a little heavy, and focuses slower than my 50mm Nikkor, but it’s not terrible. The focal length helps with moving targets, and the macro focusing ability makes it really versatile and quite fun no matter what you are doing. It even will take a decent portrait if you are careful as it doesn’t have a lot of distortion. It’s sharp, has great contrast, nice color rendering and can be purchased for very little money. Yes, it is still a little front heavy, and when it is cold the grease gets sluggish in the action and the focusing can be even more dampened.

There is lots of lens flare with no hood, and it’s not blazing fast at only f/2.8… But it is a really great daily companion for the little Fuji if you want to keep costs down and have a lot of fun like I did. Eventually, I came to the conclusion that I was ready to commit to using a Fuji most or perhaps even all of the time. I had come to love the Fuji first Gen X Trans sensor and the small body of the XE-1.

I had realized that I could have fun and take nice pics even with slower manual lenses. The Fuji was coming along with me everywhere, was fairly quiet, and fairly unobtrusive and I decided that if I could enjoy my time with the older lenses, then the Fuji autofocus lenses might be alright for me as well.

Three days ago I managed to scrape up enough money to buy my first AF Fuji lens, the XF27mm F/2.8 pancake lens.

Initial impressions are great and I love having such a feather light lens on the XE-1 after a lot of the heavy legacy lenses. It’s not a blazing fast autofocus camera, but I have already been working around that slower speed so it was actually quite an upgrade for me!

In conclusion, I think that if any of you readers out there would like to give Fuji a try, but don’t want to invest huge amounts of money into a system that you might not like… give the old XE-1 or X-Pro 1 a long hard look. Start with a few cheap adapters and beg, borrow or steal some old legacy lenses to try.

And please… give yourself a while to get use to the system and to learn how to work with the files… I am almost 4 months into this experiment now… and I was really struggling until about my 3rdmonth.

Have some patience and invest some time into getting the camera set up like you want and see what you can do with it.

The final word for me is this… I am absolutely certain I can nail my photos 90% of my time with my Canons. I am confident I will get my shot, I will make it work, and I will be able to process it the way I want 90% of the time.

Why? Is it the sensor? Is it the camera?

It’s neither. It’s the 12 years of practice and one million photos I took with that same system.

I’ve been using a Fuji for just a few months… come back and see me in 12 years and I am certain I will say the same thing about my Fuji’s.

If you would like to see more of my Fuji experiments you can see them on my Tumblr that I set up just to share the Fuji shots. I have been tagging all the photos with lens information for the curious!

http://mylifeaccordingtofuji.tumblr.com/

Or you can see a larger sample of all of my photos both Canon and Fuji here on my Flickr page:

https://www.flickr.com/photos/minkypaw/

Thanks again to Steve and Brandon for giving us all such a great site to enjoy!

Ben Bird

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
Follow

Get every new post delivered to your Inbox

Join other followers:

Skip to toolbar