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  1. 5 points
    From Wikipedia: The Koppelpoort is a medieval gate in the Dutch city of Amersfoort, province of Utrecht. Completed around 1425, it combines land and water-gates, and is part of the second city wall of Amersfoort, which was constructed between 1380 and 1450. The gate was built between 1380 and 1425 as part of the second city wall. The whole wall was completed around 1450. The gate was attacked in 1427 during the siege of the city. This attack was repelled. The gate was opened and closed every day by the appointed raddraaiers, "wheel-turners". A minimum of twelve wheel-turners were collected morning and evening by several guards. It was an extremely dangerous task; if they did not begin walking simultaneously, then one could fall, dragging the rest along with often fatal results. Before the gate could come down, it had to be raised, to pull out the iron pins that held it in place. Only then could it come down. While the gate was going down, walking in the wheel grew ever easier and faster, and many people stumbled and broke their limbs. The koppelpoort was also never breached. The Koppelpoort was given its current appearance during the restoration by Pierre Cuypers in 1885 and 1886. Among other things, Cuypers removed a step between the two gates and replaced it with a slope. From 1969 to 1993 a puppet theater was situated in the gate. The latest restoration was completed in 1996. It was carried out very cautiously, and with respect for the old building materials. For this the town of Amersfoort received the Europa Nostra Award. Fujifilm X100
  2. 4 points
    It is located at the Hudson Yards, next to B&H. Took these yesterday. Nikon Z6 & Zeiss 18mm f/3.5 Distagon. Thank you for looking.
  3. 3 points
    Bertie having a snooze on the backrest of a sofa, a favourite place I’m told! by my granddaughters iPhone
  4. 3 points
    Thank you Alan for the detailed explanation my 27mm fujinon lens arrived very quickly and with no hassles at all, the camera-lens make a very handy, light and incredibly responsive camera A couple of shots Old train - structure added in capture one, b&w in silver efex A port to nowhere - b&w in silver efex The artisan - heavy crop - classic chrome film simulation
  5. 3 points
  6. 2 points
    I finally got my 35-100 F2.0 in. Of course, it was used, off of eBay. Had KEH had one in, I might have gone that route, but they are always above $1000 USD when they have this lens in stock. The good: VERY, very well packaged! I was nervous about this, especially since the shipper used USPS GROUND.... For those who are not in the US, this is just about the absolute cheapest rate for US mail. The bad: 1. The shipper used USPS Ground. It took 18 days to get here. It went from East Coast (Florida) by rail or truck with many transfers to the West Coast (Seattle, WA) then by barge to Anchorage, Alaska, and finally on a plane to here (500 miles west of Anchorage.) I have had other stuff shipped like this that took as much as 28 days, with 10 days or more between getting on the barge, and then clearing the Anchorage facility. Lots of handling and sorting, and beat-to-hell condition when it arrived here. eBay does not keep track of messages included with the offers, and I was fairly certain that I said I wanted to pay for more rapid shipping..... so maybe I only meant to pay for quicker shipping.... I will never know. 2. The seller said it was immaculate condition, with a filter on it since day 1..... It is a beautiful lens, with the hood. But he failed to mention that the filter cannot come off of the lens, and might as well have been glued in place. So a lens some of you say is the sharpest they have ever used, with a cheap BOWER UV filter (one of the THIN versions) wedded to the front of the lens. Of course, it was almost impossible to grip the lens with a filter wrench, as so little of the filter was above the lens. But I tried for a long time. 3. Just to make sure I was NOT doing something from some sort of false memory, I looked up multiple websites for "how to do it" stuck filter recommendations. I had already exhausted the first 3 or four, depending on web site, and I was up to the more serious options. SO.... I froze it over night while in a large ziplock sealed baggie, and left it in a deep freezer at minus 10 F. At lunch today I took it out, and tried again....NOTHING......NOTHING. I left it outside on my porch in the ziplock bag so it could warm up slowly (it was only 25F today, which is warmer than it should be this time of year. 4. I emailed the seller and explained I would NEVER have purchased this from him had he revealed the filter was stuck on the front. Amazing!!! I have still had no answer from him. I would have expected at least a minor protest, with a statement that he did not realize this problem existed. But NOTHING! 5. Before getting out the pliers, saws, files and dremel tool for the next options, I did some more careful thought, and decided I should give it a few more tries with the filter wrench and the flexible rubber pad for removing tight jar lids. Once I went to hack saw, or dremel tool, I could not return the lens (yes, he said no returns, but I figured eBay wouId have honored an appeal based on it NOT being in perfect condition since a cheap filter was stuck on it.) I have found that eBay really does follow up, and I have won four or five appeals with NO cost to me even for shipping (I have lost none at this point.) And you do not often have problems on eBay like in the 1990's. So I tried for another ten minutes with the filter wrench and the rubber pad, and SUDDENLY it turned freely. From stuck to loose in a fraction of a second. It did not slowly come loose, it QUICKLY went to zero resistance. SO, off to the Jobu Jr. Gimbal mount, and a few photos. I am not sure how to evaluate the results. Perhaps you can decide. I shot at 35mm and 100mm ONLY. I was at f10, and only wanted a quick assessment of quality. I clicked of 50 shots or so in a minute or so. What can I say? I was using Nikon View NX-i and I shot in jpeg mode, not raw. The image was difficult to assess when I went to 400% size; maybe the resolution was not good enough for this size, or maybe it was even my cheap monitor (on other posts, Dallas and a few others have told me they could see things I can't see on my own cheap 19" monitor..... Everything less than 400% was VERY SHARP. So, Sarcasm aside, it IS heavy. It is not quite as big as I thought it would be, and every bit as sharp as Dallas and Bytesmiths said. I was glad I was able to get the cheap Bower filter off of it. Unless this guy jammed this on at the last minute to confirm that he really kept a filter on it since he got it, I cannot imagine anyone using a cheap piece of crap $10 Bower filter on the front of a VERY expensive and VERY sharp lens. I don't know about the rest of you, but I have read and seen some pretty convincing arguments and images showing that there is a reason that most cheap filters are cheap. I have gravitated toward using NO filters unless there is an optical necessity (a need to polarize, or need to get rid of UV.) Now, when I do use filters the cheapest I use is a Hoya, made in Japan, and a higher grade they came out with. I have been slowly replacing all of my filters with a few B&W UV and polarizing filters. I use a lot of step up rings to reduce the number of filters I use. Yes, a long story to conclude that Dallas and Bytesmith are right. Now to see if I am really going to use it. I am anxious to try it at F2, and various zoom settings.
  7. 2 points
    Taken yesterday here in downtown Toronto at a very busy intersection. While waiting for the light to change noticed the advertising across the street and the two construction workers lounging against the wall, and seeing the humour in the situation grabbed this shot. Nikon D3 Zoom-Nikkor 24-70 2.8 G ED AF 5.6 @ 1/2000, ISO 200
  8. 2 points
    In a scene like that using an APS-C camera I would focus on the tree on the left and set aperture to f8/f9 to achieve maximum dof.
  9. 2 points
    Dog, with the nikon 105 f2.5 ais Moon with the 70-300AFS zoom, @300mm wide opened, 100% crop , surprised by the amount of detail I was able to obtain Director, shot with the nikon 50mm f1.8 E series, shot at f2.8, heavy crop, again surprised with the detail, beautiful skin tones, and very pleased with the manual focus aids All processed from the RAW file using capture one
  10. 2 points
    This wall art by 13HOOG was commissioned by NS/Dutch Railway and the city of Amersfoort (Holland). It's located at the site where the NS/Dutch Railway used to have their maintenance and repair facilities.Fujifilm X100
  11. 2 points
    At the end of a long day, Antarctica served up a spectacular light show. All these photos were taken in the space of less than an hour.
  12. 2 points
    Then there's the added fun of the paper emulsion not only being insensitive to red light, but also having limited sensitivity to yellow and even some greens. Ergo, a still life takes some tomatoes, a jar of tomato relish and one of beetroot and gives them both the appearance and tone of onyx. And just to prove these dark, stoney looking things are tomatoes, here's the setup: A lot of light was needed - 2x 1000w/s monos pushed through softboxes, 6 flash actuations required at full power @f/11. Primary side-light flash tube about 4.5 feet from subject, front fill tube about 6' away.
  13. 1 point
    Foreword: Please note that most of the pictures illustrating in this article are scanned from the original publications or past archives and were taken by the auteur during that period of 1987-2001. Sorryfor the very variable image quality since almost all my original slides have been lost or destroyed. Many people that I have known during my active fifteen years in motorsport photography were very curious about the "glamour" side of the job (assignment). But .... almost all of us (mainly men along with a few courageous women) were mainly motorsport fanatics that are loving at first auto racing and ... were dreaming to be themselves real racers. So, doing photography was may be one of the nearest ways to be involved in the sport. At that time period (1987-2001) auto racing was still a dangerous sport with frequent accidents, injuries and time to time deaths even into the smaller and local series. Race track organizations and installations were most of the time on the minimal side and security manners were crude compare to what we see today (which are almost clinically controlled). And most of us (speaking of the regulars) who were covering the whole season were freelancers often attached to the few different Canadian auto-sport publications. The search of the required credential to get free access to the site was the primary task to fulfil. In our small community of fellow’s car racing photo takers who were able to see a mix of old timers, ambitious, groupies and beginners. Sometimes we had the visit of some newspapers correspondents which were notorious for their lack of experience in that domain.  Because doing auto racing pictures is not really an easy task. It requires dedication, physical effort (most of the time for moving yourself to strategic places or simply anticipate and follow the action), good reflexes, a good sense of the environmental movement, an interpersonal involvement, persistence, to be highly auto-critical of your work, the capacity of fast learning, etc., etc.. At the end you have to remember in this nasty (translate by "competitive") world of communication that only results are counting. And what about equipment? Sorry but my little experience in that field have teach me that racing photo editors don’t give a damn of which camera or system you are actually using to do your work. But I can understand the amateurs when they are saying they cannot really make good pictures like the other fellows on the other side of the fence because they don’t have the right equipment and ... the necessary access credential. Doing auto-sport photography was a bit like war photo reporting ... but with less risks for everybody involved. But physical fitness and mental awareness were similar in many ways. Some of us love to work in staged areas, others were more adventurous. Some were well advised, others were more gamblers. Some were very PR, others were shyer. Some were egocentric person, others were very generous. I have enjoyed all the time I was part of that special group of colleagues. Sure I have encountered some difficult working situations like conflicts with officials or very adverse weather conditions (sun, rain, wind, cold, snow!) or very emotional disturbances or simply bad photo output after all these efforts. Many times we were staying at cheap motels (Rooms shared by 4-5 of us!) or in a tent or even in a car and we were eating scarcely at sponsored tents if it was possible or at infamous snack bars. We were begging for taxiing around the circuit from the different teams or circuit workers. And don’t forget we had to bring this fabulous but annoying 20-25 pounds camera bag filled with few cameras bodies, 4-5 lenses, electronic flash, exposure meter, film rolls, without forgetting the monopod for that heavy extra telephoto "dream" lens (a 300mm telephoto lens). Drinking water was another priority to be addressed for surviving around the circuit. Clothing was also an imperative to be consider. At the end you really looked as a war correspondent. And there is a lot of noise (ear plugs were a must!) surrounding you. But during the races we finally all had this adrenalin rush to perform our "duty". No time to think or postpone anything because the action was taking it all. At the end of race day program, we were totally exhausted but really proud to be part of that special group of auto racing passionate photographers. A Racing Portfolio by Daniel M Note: Most of the pictures illustrating in this article are scanned from the original publications or past archives and were taken by the auteur during that period of 1987-2001 All my thanks goes for Formula, the Canadian auto sport magazine; Pole-Position magazine; World of Wheels, Canada's auto magazine; Le Monde de l'Auto, le magazine québécois de l'automobile; Canadian Grand Prix program and to all my photo editors (Thanks to Marc, Luc, René, Philippe among all others) who have believe in my work. A special thank also to my occasional sponsor Fujifilm Canada. Jimmy Vasser: An American in Canada! For a time, Jimmy Vasser did his basic open wheels racing classes in the Canadian Formula 2000 racing circuit before graduating into USA racing circuits. Vasser is the last American born driver to win a Cart championship in 1996. He became eventually a successful Indy racing team owner. Stéphane Proulx: The gifted but uncontrollable Canadian young telegenic champion. The destiny has crushed one of the most talented auto racer of his generation. He was "mediatic" before the hour and before Jacques Villeneuve (son of Gilles). At a time, everybody wanted to be near him but finally almost everybody ignored him at the last moments of his very short life. But he was so a dashing personality even after knowing the complete story. The Fuji Photo of the Month: Every Canadian auto racing photographer wanted to get it (and the pay check of $250!). It finally happened in 1990 for the first time for a Canadian fellow (i.e. me!) and it happened again for me one year later in becoming the first one to get it twice. Thanks Fuji!  Danger around the circuit: All racing editors were loving action pictures (meaning accidents) and many racing circuits of these times were not really fully secured like today. The photographer was able to be very near the racing car at a point you were able to feel the exhaust pulsation on your shirt. Many times, I have selected a normal or semi-wide-angle lens to be able to cover all the subject. Sliding, collisions or mechanical failures like fire were popular. Many colleagues voluntarily ignored these moments for various reasons, but it was not my case. Danger was part of the auto racing context and was adding a lot of dramatic to the sport.  Elio de Angelis: This portrait snap shot have been taken in 1984 at the Canadian Grand Prix. At that time Elio de Angelis was driving for the Lotus team of Colin Chapman. He will be the last driver to win a Grand Prix race for Chapman (before his death). Then, de Angelis changed team for Brabham where he lost his life during a private test. Rain (and cold!) around the circuit: Mont Tremblant mountain circuit is reckoned for its rapid change of weather during a race weekend. During this particular event the light was so low that I have to rely on electronic flash aid and for this reason I have position myself to take side picture of the cars preventing that way to disturb the drivers. Another rainy picture shooting with the "King" Richard Spénard at the Trois-Rivières Grand Prix. Spénard was one of the most experimented Canadian racing drivers of its time. I was talented but also a very generous fellow racing teacher. Greg Moore: Another Canadian sensation young racer that everybody was hoping the best. His short live ended during a Cart Championship race at Fontana, California in 1999. Jacques Villeneuve (Jr): He may be the best Canadian racing driver who was able to win the Indianapolis 500 race, the Cart championship and the Formula 1 Grand Prix season championship (against Michael Schumacher among others) in only three years’ time! He was certainly gifted as a natural driver, but he was also very clever. And he has a charming attitude toward press and photograph people. He can be also a very independent guy that may have affected negatively in the last part of his racing career. Patrick Carpentier, the next "Villeneuve"? Hopes were high right from the start. Carpentier manage to make a professional racer living in the USA before becoming a tv commentator and an enthusiasm race ambassador in Canada. And other fine Canadian auto racers: David Empringham Martin Guimont Claude Bourbonnais Didier Schraenen Michael Valiante Isabelle Roy leading a front pack of astonished guys! My last published racing picture in November 2001: Certainly not my best one but in some way, it announced that change has to occur into the auto racing world if they want to survive. The introduction of women in the sport has to be a real changing factor but seventeen years later it still has to be seen as a general evolution. A special thanks for all the people who have supported me along these years of freelance motorsport photography and more specially to my wife Manon who has understood and encourage my passion for this sport. And a special thanks to Dallas who patiently has worked a lot to reconfigure this article! View full article
  14. 1 point
    Aaaah ok then. I thought postage would be possible.
  15. 1 point
    I'm glad you were able to get the lens sorted, Walton. It is a beast of a thing and if you can cope with the sheer size when mounted on an MFT body, you will be rewarded with some spectacular image quality. I also do not use screw in filters at all on any of my lenses, but I think i am going to have to try and find a Ø46mm one for my Sigma 60/2.8 Art. The lens cap went missing after a client shoot a couple of years ago and I cannot find a replacement in all of Africa, so that lens is basically stuck here in my office.
  16. 1 point
    The Cayo Largo Island has been (and still is) a frequent destination for recharging your frozen batteries affected by our long Canadian winter season. Located south of the main island of Cuba into the Gulf of Mexico, this idealistic place is share by people in search of calm, of nice long white sandy beaches and of friendly Cuban people. Although many hotels installations are now more on the rustic side because the buildings are suffering a lot into the southern weather since the island seems not to have a lot of material resources to refresh them properly, vacationers from Canada and other countries are coming back year after year and some are paying visits for even a more frequent pace over the year! We know now that there is very few probabilities that the island of Cayo Largo will be ever "americanized" in any ways in the near future. The Italian travel agencies seem to be the only ones really interested to invest on the island and have created a group of specific resorts strictly controlled and only available for their clientele. I am particularly fascinated by the architectural point of view of many earlier buildings since they represent a kind of merging of the hispanic heritage blended into the Cuban modern way of building back in the 1980s and 1990s. And because it has not been reproduced in the last twenty years, it may be important to preserve some image temoignages of what may disappear in mid-term. All the pictures of this articles have been taken with the Fujifilm X-T20 camera and the Fujinon XF 18-55mm F2.8-4 R LM OIS lens.
  17. 1 point
    Thanks Anthony, It is certainly an adjustment coming from the D800 Luc, I started reading the manual, there are 50+ parameters that can be displayed on the screen ! Backyard roses with adapted sigma 150mm macro fmount
  18. 1 point
    This tree which I believe is some type of cherry, every year the blossom pleases me! Lumix G9 + 35-100mm @ 1/1000 f4 ISO200 a bit of sunshine would have been nice!
  19. 1 point
    I don't think DOF is relevant in this shot. Scene looks fine to me.
  20. 1 point
    Thanks for the comments I ordered a fujinon 27mm f2.8 from ebay, hope to get it soon as it comes from hong kong, also hope it makes through customs with no hassle
  21. 1 point
    So far as the timing of (fully or partially) switching to Fuji is concerned, I guess we (you and me) are pretty lucky. The Capture One Express makes the processing free and a breeze. Recently, they added the profiles of most of the genuine Fuji lenses, which improves the image quality even more.
  22. 1 point
    Armando, Luc is so very right, veryfew of us will ever use all the facilities available in modern cameras!
  23. 1 point
    The situation in SA is deplorable indeed and the people of SA both black and white are the sad victims. The art piece though is impressive.
  24. 1 point
  25. 1 point
    Now it's a circa 1908 Thornton Pickard half plate camera, using Ilford Multigrade IV print paper as the negative, today I photographed the old #1 Railway Bridge over the Derwent river at Plenty, Tasmania, using the original Thornton Pickard Rapid-Rectilinear f/8 lens. In open sunlight the exposure was 8 seconds at f/45. Two versions are posted of the photo, both with an added effect to mimic the appearance of a gold-toned albumen print still common when this camera was first used. Unfortunately the original Thornton Pickard behind-lens roller blind shutter is no longer serviceable (a common enough situation with these things) and was removed from the camera a long time ago, so method of exposure is via good old lens cap remove/replace while timing the seconds on a stop watch. Brings back memories of my early studio days when we used incandescent light for set-up photography, although we did use proper Copal shutters with a more friendly "B" setting. The first photo is a more-or less straight rendition after copying with a Sigma sd Quattro-H camera and reversing the result to positive, the second was after applying a "equalise" command in Photoshop and demonstrates just how much detail actually exists in a paper negative - the paper of course being orthochromatic at best and therefore insensitive to blue light. What was also very apparent is that the camera was completely outclassed by the detail in the ultra-fine grain paper emulsion and lost a lot of fine detail particularly after downsizing for Internet. The last is a 100% screen capture to give an idea of the detail that was captured, as well as that marvelous atmospheric softness rendered by that old, uncoated glass (the "grain" is from the copy camera's sensor, the image is perfectly grainless even under the strongest magnifier I have here). I was also amused by the shadow play on the pylons which made them look like they were leaning heavily to the right, which of course they weren't as is evidenced by the vertical lines of rivets in the upper structure. ...and the camera in question, at its first test location The shot I took on that occasion to establish the ISO of the paper (3 ISO, by the way) made for an interesting tone-dropout:
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