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  1. 15 points
    (powered by 210 teeth...)
  2. 15 points
    The older I get the more apparent it becomes to me that in spite of what I think I know, I actually know very little about the world and human nature. I’m referring of course to recent feelings expressed by many members of Fotozones relating to the way things have been going here lately. There are some folks who are happy, but there are also some folks who are not happy with the way Fotozones has been moving. A lot of this is because of me. What it boils down to is that I have been perceived as being very negative towards Nikon and very dismissive towards DSLR cameras in general. This is seen as divisive and counter-productive. I guess on reflection there is truth in that, although to be very honest with you all, I had not intended for it to be the case at all. I guess in my excitement with exploring the mirrorless world I have become a bit dismissive of other things, which as a photography site owner is not a good thing to do. Everybody has a right to use whatever equipment they want to use and to talk about it to others, but on forums like the one we have here, it’s important to remember that we may not all share the same views, nor do we share the same tastes. We need to be respectful of the other person’s choices, even if we don’t agree with them. For site owners like me it’s a delicate balancing act and I have managed it for a long time, but now, because of the change in dynamic between my photographic journey and that of others who have followed Nikongear into Fotozones, it’s important that I continue to balance things out, especially in the forums where I often find myself at odds with other members. I fear I may have wobbled on the high wire recently. So, to all those members who I may have offended with my remarks in recent times about the gear you use or the way I perceive developments at Nikon, I am truly sorry. I will henceforth cease and desist with all such commentary and focus instead on doing what I intended to do with Fotozones in the first place - make it a great photography website and resource for as many people as possible. Andrea and I are working on a new forum policy and I am hoping to get that wrung out before I go away on safari in just over a week’s time. It won’t be radically different, but it will at least cover some areas of contention, specifically how we moderate and why we moderate. I am looking to make the forum more independent of my influence than has been the case in the past. I’d like it to be run on a committee basis where each gear zone is managed by a person who champions that brand in a positive way, but understands that in doing so they shouldn’t be dismissive of any other brands. If we can get this right then we will be well on the way towards regaining our mojo as the coolest photography forum to hang out on. If you’d like to have a say in what the forum policy should cover, please chime in either on this thread (or by PM to Andrea and I if you’d prefer to remain out of the limelight). Once again, to those members who have felt alienated or offended by my comments in recent times, please accept my sincerest apologies and help me to work towards a better Fotozones by participating positively on the site. Fotozones is my life and my promise to you all is that I will dedicate myself to making it the best one there is for all photographers out there. Peace, brothers and sisters.
  3. 14 points
    Oh dear, that is extremely sad indeed. I have often thought of her of late and wondered as to her absence on FZ, but many names drifted as new ones appeared on the NG>FZ swap, so I just assumed she was one of the drifters, unlikely though I thought that might be. Her preference for working in B&W and her concern for the environment meant that she and I shared much the same reasoning for the way we photograph things, although I wish I were even half the artist at it that she was. I have had contact with her in the past when she asked off-forum to buy one of my prints (which was indeed a huge compliment coming from a photographic artist of her calibre), but of course I would have none of that "purchase" stuff and simply sent her the print. So once more, for Carolyn:
  4. 13 points
    Here is B shooting A and C shooting B on the Titus Canyon adventure. We had so much fun!! (From a 2012 thread).
  5. 12 points
    I already posted one image from this series in the "favourites from 2014" thread, here, post #49. These are some of the remaining from the series, taken in November. I'm sure there is much more exploration to do here. 1 2 3 4 5 6 7 8 9 10 11 12 This was a tough scene to get and I missed the bit of flare on the right. 13
  6. 11 points
    Here is Caro pointing the way out of Titus Canyon (from a 2012 thread).
  7. 11 points
  8. 11 points
    This buffalo lay dying, its spine broken and encased in mud was one of 2 victims of a lion pride attack the evening before. He eventually fell victim to crocodiles later that night. Anthropomorphising here, one could almost imagine the Ox-pecker paying it's last respects to this hapless beast. Looking carefully one can also see a tear in this daga boys eye. South Luangwa Nat Park- Zambia. D3s 500 f/4 VRII 1/200s f/5.6 ISO800, BB from vehicle, slight crop for comp, levels, curves, lumo mask in ACR & PSCC. C & C most welcome Cheers Marc
  9. 10 points
    The reality of climate change is very real in the Philippines and the immediate effect of this is apparent in the changed weather pattern. In the past, April to May typically bring forth fiery colored sunsets but this has not been the case last year and this year. I am currently vacationing in Bohol (Central Philippines) and as I have done in the past, late afternoon is spent at the beach or at a hillside where I can capture the scenery as the sun sets. The attached photo shows a different kind of sunset. Despite being untypical as it was a cloudy day (again), nature has a way of bringing out different colors, hues and shades that evokes feelings of awe, gratitude and praise. Long after humanity perishes from this earth through its own folly, nature's beauty and majesty will continue, as in a sunset. The photo was taken with a Nikon D500 and a Nikkor 70-200mm f4 at Base ISO 100. Other than size reduction, the photo is straight out of the camera.
  10. 10 points
    I had the pleasure to spend a few days at the Jigokudani Monkey Park (near Nagano). It was a very special experience to be so close to the Snow Monkeys i.e. Japanese Macaque. The surroundings are a bit of a mixture between nature and man made. There are many hot springs in this area and the monkeys enjoy these a lot. The man made part are the pools that are built and maintained by humans. The monkeys however are absolutely free to roam around. They come in early in the morning and return to the hills in the afternoon depending on the outside temperatures. The colder it is the earlier they return to the hills in order to dry completely before temperatures drop even more during the night. Shooting these monkeys in the snow was challenge by itself. forget about all automatic modes ... either shoot manual or fail ... and this was only the start of the trip .. shooting white cranes or swans during snowfall with a white background was something that needed some getting used to. Images of this to come later. Nuff said ... here are some images that I hope you like ... I would really appreciate comments and honest opinions. Especially on the matter of post processing I am interested in every thought. I jumped ship from Lightroom to Capture One (I like LR as a tool but I am so sick of Adobe's company policies) so feedback on potential processing improvements as well as on the images themselves is very welcome! Cheers Chris PS: You find ~20 more images here #1 Monkey Cuteness 1 ... On the second day we were blessed with a full day of snowfall. The snow in the fur of the monkeys was the icing on the cake. #2 Monkey Cuteness 2 #3 Monkey Cuteness 3 ... but even without the snow falling heavily there were incredible opportunities #4 Monkey Action 1 ... but don't you dare to consider them monkeys pets ... they can be very aggressive and there is a strict hierarchy amongst them. Not every monkey is allowed in the pools at all times and not every monkey may dare to approach a more senior monkey. #5 Monkey Action 2 ... what looks like Mr. Phelps heading towards his 100th gold medal was actually a senior monkey who discovered a teen monkey what was -not- supposed to be in the pool #6 Monkey Family 1 ... No need for words ... Every time I look at sceneries like that all I do is smile smile smile ... How cold must a heart be that does any harm to such animals? #7 Monkey Family 2 #8 Monkey Family 3 #9 Monkey Business 1 ... Sitting on a tree watching strange relatives with weird devices... at least the food is tasty #10 Monkey Business 2 ... Sitting in the pool watching strange relatives with weird devices ... and not even food they have ... #11 Monkey Business 3 ... Ahh ... there is food in the pool! #12 Monkey Farewell ... where only did they learn this? *scnr* :-D
  11. 10 points
  12. 10 points
    Alan, I think posting B&W landscapes here is a great idea. This image form Maui is one I discussed with Carolyn:
  13. 10 points
    Street photography is one of those genres that is highly debated. Some want to put it up on a high pedestal and proclaim it restricted to a highly curated set of parameters, while others want it to be anything that is taken out in the streets. I, for one, am not a big fan of strict labels for this kind of thing. For me, street photography is about capturing the essence of a place or location that tells a story and gets you to feel what it is like, or what the people there are like. These are fleeting moments that could change in a matter of minutes or over years. Nikon D700, 1/125, f/7.1, ISO 320 @ 28mm I'd like to share some of my thoughts about my approach to street photography. We'll cover the other photographers that influence my perceptions, how I go about shooting subjects and we'll talk about how I shoot from gear to camera settings. Nikon D700, 1/800, f/4.5, ISO 500 @ 28mm Major Influences I take a lot of influences for shooting from various photographers. This list encompass the top three, but by no means are the only ones. One of my all time favorite photographers is Jay Maisel. He is a commercial and street photographer based out of NYC. I agree with a lot of his philosophies regarding shooting. KelbyOne has a three video series that are actual walk along shooting sessions with Jay, 2 in NYC and one in the streets of Paris. Well worth at least a monthly subscription. Nikon Df, 1/500, f/4, ISO 100 @ 50mm Fan Ho is a street photographer that shows a lot of work from Hong Kong. The work a I appreciate the most from him is his 1970's/1980's images. His work shows what is possible if you learn the area you are shooting in and have patience to allow a scene to develop. It is not all about run and gun. Sometimes you have to wait for the scene to work itself out. Just do a web search and there is a lot of his work out there for you to discover. Nikon Df, 1/500, f/4, ISO 100 @ 50mm Of course, if you said who is the most famous street photographer the majority of people are going to say Henri Cartier-Bresson. I do in fact like his images and from his work, I appreciate the inclusion of environmental components long with the expressions of the people he captured. Nikon D700, 1/400, f/5.6, ISO 800 @ 260mm Shooting Philosophy What draws me to street photography is the "realness" of it. By that, I mean that I like to capture the majority of my street photography images without the subject caring that I am there. That is not the same as being covert about it. I don't sneak or skulk about trying to get images of people or situations without them knowing about it. Olympus EM5, 1/50, f/1.8, ISO 2000 @ 17mm I always have my camera out in plain site on my Black Rapid strap. I want everyone to know that I am out there taking pictures. I feel this puts people at ease. They are also more apt to tell you up front if they don't want to be photographed and you'll avoid some angry people later on down the road. While we are on the subject of angry people, there is an old saying, "go out to make pictures, not friends". While this might seem confrontational, it really is not. What it means is go out and make pictures, do what you set out to do. It's OK if you make friends along the way, but that should not be the goal. Olympus EM5, 1/1600, f/7.1, ISO 200 @ 19mm 99% of the time, if people see you taking their picture, they are going to be indifferent about it. There are those 1% that might be curious about what you are doing or are not happy about it. There are very few situations where your personal safety or the safety of the group you are in is worth a confrontation. If deleting the image, buying someone a beer or backing off will defuse the situation, it is best to do so. As with most things in life, you want to be out shooting street photography with confidence. Go out there and shoot like you have a purpose and a mission. If it looks like you are there for a reason, most people will not question what you are doing. If you show a hesitance or try and sneak pictures then people might get the perception that you are up to no good. Don't give them a reason to doubt you or think that you have a nefarious agenda. Fuji X-E1, 1/50, f/4, ISO 1600 @ 35mm Subject matter is something very personal and different for a lot of people. I like and practice a philosophy I heard articulated by Jay Maisel, which is "go out open and empty". This means going out not necessarily with a subject or objective in mind. Instead, I go out with a vision to find something that interests me and maybe I have not seen before I captured before. I think that this type of philosophy also drives my gear requirements. A lot of time, the shot I want coalesces in front of you and you have but seconds from the time you realize what is about to happen till the time to capture the image. I don't stage shots either, I capture whatever happens. Don't get me wrong, I'm not against setting up a shot - it is just not what I prefer to do. I have been known to request portraits if I think a person is interesting and want to approach them. Again, as above, ask politely and be honest about what you are wanting to do. Most people would be happy to oblige you in your request, other times they will say no. Remember to respect the person and their space. You never know, you could run into that person in the future and they could grant you a portrait of them at that time. Gear Just about any camera can be used for street photography - but the caveat to that is this - it depends on how you shoot. I'm going to speak only to how I shoot street and the capabilities that I require for me. This is my personal preference and how I have the most success and pleasure. Fuji X-E1, 1/50, f/2, ISO 800 @ 35mm The most important factors for me in a street camera is fast operation and auto focus capability. When talking about fast operation, I mean that the camera can be turned on or awoke from sleep mode and be ready to shoot by the time the camera gets from its resting position on the sling strap to my eye. One of the things that turned me away from the Fuji X series of cameras was the amount of time it would take and reliability of turning on and waking from sleep those cameras. I had an X-E1 and there was a lot to love about that camera. Operation speed left me wanting and I lost quite a few opportunities for great shots because the camera took too long to either turn on or wake from sleep. One question you might be thinking, why not leave the camera on all the time? Short answer, battery life. With the early Fuji X cameras, battery life as not stellar, so I thought that turning off during a shooting lull would help. Not really. Allowing the camera to go to sleep was almost worse sometimes as I often had situations where the camera would not wake on half press or would take up to 2 to 3 seconds at times to show an image in the viewfinder. Olympus EM5, 1/100, f/5, ISO 2000 @ 100mm Auto focus speed and accuracy is also another top requirement. I am not one to zone focus and will only prefocus when I have to, and sometimes prefocusing is not an option. This is another area where the Fuji X failed me on several occasions. I had issues with the focus speed and at times the hunting from the CDAF system would not lock on fast enough. I will say, though that the Fuji X cameras are improving every iteration and the X-E2, X-T1 cameras are leaps and bounds better than the X-E1. I'm even experimenting with some zone focusing techniques with a Fuji X100. You never know - I may be a convert some day. Nikon Df, 1/1600, f/4, ISO 400 @ 90mm Right now, my weapons of choice for street shooting are 2 sets of kit. The first being the Nikon Df with a set of three primes - Nikon 24/2.8, 50/1.8D, and a Tamron 90/2.8. The Nikon Df is an extremely misunderstood camera and I invite anyone to really dig into getting to know it. There is a lot there and a whole lot more to love than to hate once you give it a chance. The Nikon Df is the smallest FX camera that Nikon makes. Partnered with some good primes and you have yourself a really great street shooting rig. The AF performance is great and you have a lot of control of DOF with the FX size sensor. Not to mention that you have the dynamic range and picture controls of the flagship Nikon D4 on the inside and you can see the appeal. Being a DSLR, the camera wakes from sleep or from powered off almost instantly. Olympus EM5, 1/500, f/5.7, ISO 200 @ 156mm The second kit was actually a surprise to me. I went in to the camera store one day to look to possibly pick up a Fuji X-T1 or an X100s, but ended up walking out with an Olympus OMD EM5. I, like a lot of people, was running on old information from the very first micro four thirds cameras. Yes, the sensor is smaller and you have all the differences in the shooting experience that come with it. However, Olympus has done something special with the OMD series. The wake from sleep and power on times are greatly improved over what I saw from Fuji and my past experiences with the X-E1. The AF performance is phenomenal as well, at least for the single servo AF. It is as fast if not faster than some of the DSLRs out there. I experience minimal hunting. Partner this camera body with a killer set of fast prime lenses and you have a very capable kit. My favorites are the Olympus 17/1.8 and 45/1.8 Settings Settings are probably more of interest to people than my gear selection. Let's talk about what settings I use and in which situations. These discussions will not be specific to the gear I've listed above. They are more to the situation you would be shooting in. Focus mode is AF-S. Single point, lock it in, get the shot. Every now and again, I might throw it into continuous AF, but that is very rare. Nikon D50, 1/80, f/5.6, ISO 200 @ 60mm WB is set to auto, unless I know I am going into a situation where the color cast is something I know will be extreme, then I will set it manually. RAW or JPG? Majority of the time, I'm shooting JPG. The JPG engines in modern cameras are actually pretty great, considering. I will shift over to RAW if there is a scene that I know I will need to do some extensive post processing on. Olympus EM5, 1/80, f/2.2, ISO 800 In normal, everyday "good" lighting I'm shooting in aperture priority mode. I do this because I want to have control over the depth of field of the shot. I then let the camera do the rest of the heavy lifting. In order to do this, you'll need to be in sync with your cameras metering system and know how it will see a scene. You might need to use exposure compensation or switch to manual if you run into a situation like extreme back lighting or the scenes dynamic range is more than your camera is capable of handling. For ISO, I'm shooting in auto ISO, keeping the base as slow as possible (low being ISO 50 to 200, depending on your camera). I keep the minimum shutter speed around 1/60 and the maximum ISO between 3200 and 6400 (again depending on gear). Shooting during the day is a pretty standard affair, if you thin about it as, exposure wise, it is going to be a pretty decent light to run in. The good thing about the auto ISO in this situation is going to be those times when you might step inside or need to shoot in the shadows, it can compensate for you without you needing to sacrifice your aperture setting. Olympus EM5, 1/640, f/2.8, ISO 100 Where things can get interesting is when we are wanting to shoot either dusk/dawn times or at night. Most metro areas are decently lit considering, but the light sources can trick even the best of metering systems sometimes. You also have the fact that the metering systems want to go for an 18% gray as the normal exposure - this can make the scene more exposed than you probably want. The best way, I have found for me, to control all of this is to shoot in manual. I shoot with as wide an aperture as I possibly can and still have a sufficiently large DOF, keep the shutter speed fast enough that I can still hand hold the shot for a sharp image and a clean enough ISO for a pleasing exposure. A lot of these exposures average out to be something along the lines of f/4, ISO 1600 and 1/60 shutter speed. Olympus EM5, 1/1000, f/5.6, ISO 200 @ 150mm For the setup, you can either put the camera in aperture priority mode and take some test shots, riding the exposure compensation until you see what you like - then set manual accordingly. When doing this test, try and find a scene that looks like a typical one that you will be shooting. This will give you a good ballpark to run from. If you have been shooting for a while, you might be able to get to where you need to be from manual from a few test shots. However you do it is completely up to you and no way is wrong, just different. Nikon D700, 1/250, f/4.5, ISO 400 @ 85mm If you find that you need to shoot at slower shutter speeds (lets say less than 1/60), and don't want to bring a tripod along you have options. Some cameras/lenses have image stabilization. Don't be afraid to use it. Just remember that image stabilizers help reduce camera shake from you holding the camera and it has no affect on freezing action. Shutter speed will control that. Another technique is to use poles or street signs to stabilize yourself. I hope that you found this post helpful. While I don't expect anyone to adopt what I do in total, there may be times when some of these techniques I use might come in handy or help someone get a step into doing street photography for themselves.
  14. 10 points
    No bells, no whistles, no frills but stubble...
  15. 10 points
  16. 9 points
    Finally! I got a picture of a Pileated Woodpecker from our deck. Overcast and flat light, but for once the bird stuck around long enough for me to catch it in a fleeting perch on a dead branch. They normally zoom by into the brush next to the house, or alight just long enough for me to imagine that I hear Woody Woodpecker’s famous laugh before they fly off. Not the greatest picture, but a small personal victory
  17. 9 points
    About once every decade it snows almost to the valley floor here at Gretna in Tasmania. This morning was one of those days.
  18. 9 points
    Mongo has photographed many of these birds but none as spear-like in the body or dagger-like beaked as this one. This bird was so pointy that Mongo almost cut himself while post processing this. D4s, AFS II 600 f4 @f8, ISO 400, 1/2000 (view large)
  19. 9 points
    This is simply too good not to post: https://www.youtube.com/watch?v=PsH9wGB_Acs
  20. 9 points
    Driving Biking Skating Running Walking Standing at f22 looks like someone sneezed on my sensor ...
  21. 9 points
  22. 9 points
    One of my jaguars is on long term display at the Nikon School in London (with an attribution). Sorry about the quality of my snapshot. It looks a lot better in reality. Here is the original. Dusk, D800, 80-400 @400, ISO 6400, 1/50 second handheld from a small boat.
  23. 9 points
    Number 9 Death is the number 1 killer in the world. Number 8 Life is sexually transmitted. Number 7 Good health is merely the slowest possible rate at which one can die. Number 6 Men have two emotions: hungry and horny, and they can't tell them apart. If you see a gleam in his eyes, make him a sandwich. Number 5 Give a person a fish and you feed them for a day. Teach a person to use the internet and they won't bother you for weeks, months, maybe years. Number 4 Health nuts are going to feel stupid someday, lying in the hospital, dying of nothing. Number 3 All of us could take a lesson from the weather. It pays no attention to criticism. Number 2 In the 60's, people took acid to make the world weird. Now the world is weird, and people take Prozac to make it normal. Number 1 Life is like a jar of jalapeno peppers. What you do today might burn your ass tomorrow. ...and as someone recently said to me: Don't worry about old age; it doesn't last that long.
  24. 9 points
  25. 9 points
    Here is the first is a series of short tutorials on various lens-related topics, in particular as they relate to close-up and macro photography, in this case focus-stacking as well. Let me know how you like them, and please offer suggestions. I am working to find a way to introduce more people to DSLR photography and, believe it or not, a lot of them don’t read…. Much.
  26. 9 points
  27. 9 points
  28. 8 points
  29. 8 points
    This image was shot at the Vancouver Aquarium. The basin was full with jellyfish and because of that and lighting conditions and reflections this image was quite a challenge.
  30. 8 points
    Back yard Nikon 300 mm Grahame
  31. 8 points
    Condor Airlines Boeing 767-300ER departs from Minneapolis-St. Paul airport at 915pm local time to head back to Frankfurt, Germany. I took this shot last Saturday on one of the longest days of the year. On the composition side, I always struggle how to place the aircraft in the frame when I have an open sky. Comments and constructive ideas always welcome.
  32. 8 points
    Moonrise in a smoke-filled sky last night (brought to us by Forestry Tasmania's incessant obsession with burning their logging waste).
  33. 8 points
    We spend three days in Rausu where - in the morning - we went out by boat to photograph sea eagles and used the remains of the day to see what else we can do. On all three days we ended up doing the Shiretoko Peninsula (Hokkaido) by bus photographing eizo deer and northern red foxes. I will probably post more than one thread with foxes, there are too many images I like even if they are not all excellent ... Cheers Chris #1 It was quite cold but in terms of winters in Hokkaido it was a warm one ... we've been told that these nets are usually covered with snow. Especially the Shiretoko Peninsula is a real cold and very rough place. #2 Some of the fishermen gave the foxes some leftovers from their catch (which was not much anyway) so it seems to me the foxes stayed somewhere near the boats but this is only an assumption... a british photographer told me "orange and green shall never be seen" ... I disagree #3 From our guide: "Here this pair were comparing the size of their mouths, which is something I believe they do to establish their pecking order, or to threaten the other fox." #4 I am bigger, better, stronger and overall much cooler than you ... oh my ... #5 I know that the composition is a bit centric but I like it that way #6 stretching ... #7 and leaving ...
  34. 8 points
    On Saturday I attended a workshop at the Nikon School in London. The subject was Urban Dance photography. Here are some of my results. Please click to view large.
  35. 8 points
    Januari third After taking Martha to the station i took time to stop for some photos, carrying a D3 with 58mm f/1.4g. The sun is little beyond dawn when i stopped here rising over what is called the Bosche broek.
  36. 8 points
    Last week I posted out a mailer and started a poll on FZ about whether the site should return to its original purpose of being a site about mirrorless cameras so as to gain more focus and possibly attract more members interested in the same sort of things. The resulting conversation was very revealing and the poll also got a lot of votes, more than we've had in a very long time, which in itself reminded me starkly that many people still care about this community in spite of the upheavals of the past couple of years. Strong friendships have been made here and it reminded me of a conversation I had with members who were active right at the start of the forum back in 2006; this place is like a local pub (or coffee shop) down the street where we meet to share and shoot the breeze about our passion for photography. In essence that is the focus of this website. Photography and friendship. And so that message has been received well by me and starting today I am going to make it the site's mission to bring together great photos from great friends all over the world as our primary focus. Yes, we will still have some space to chat about our hardware, but it's what we do with the hardware that is most important. From my side expect to see less evangelism about the gear I use and more about the photos I take. I hope that the same ethos will be carried along by everyone as we start our second decade as a community. In this spirit of refining of our focus I will be making some minor changes to the various stickies, pages and Fotozones Rules over the next few days. I have already made some changes to the homepage so that more emphasis is on the #Inspiration column. I have also removed quite a few of the ads on the last column and replaced them with more feeds from the community. I hope that this page is now more useful to everyone. The default theme has also had a slight change in that the main banner ad is now the first thing seen at the top of the page. I have tried to make it blend into the masthead as best I can. The other themes are unchanged. Thank you to those of you who care about FZ. This site is for you.
  37. 8 points
    I have been on record in complaining that digital killed B&W as a truly viable monochrome end-product (unless created by extremely skilled practitioners, of course), with the interpolation of Bayer sensors and the algorithms written for "removal of colour" changing what was once a guttural, organic look that film gave to a B&W image replaced with a smoothed-out "plastic" looking image with the colour removed. the tonal response was now linear, as opposed to the "S" curve response of B&W (silver halide) film. So on Saturday, with the winter sun shining and not a cloud in the sky, I tracked down a few static subjects filled with contrast and tonal gradations, packed my two Sigma Merrill Foveon cameras along with the Fuji X-T1 and my Mamiya RZ67 film camera, along with lenses for the Fuji and Mamiya that would roughly equal the AOV of the DP1 Merrill (19mm) and DP3 Merrill (50mm) with the intent of setting up a tripod and shooting the same scene with Foveon, X-Trans and T-Max in turn, just to verify that my satisfaction with the Fuji, as far as its monochrome rendition goes, wasn't just mere wishful thinking over the battle I had had in getting a B&W result that pleased me with all my previous Bayer sensor cameras. I also threw in the Sigma Merrill cameras to confirm that while they did to a degree reproduce the classic digital "plastic" look, the tonal gradation and acutance with which they did so comes as close to matching or even exceeding a print up to 20x24 from a 5x4 film negative. As I no longer have a 5x4 camera I couldn't do a direct comparison, but I was keen to affirm that the little Merrills definitely surpassed the medium format Mamiya, which a mere decade ago was still up there with the Hasselblad, Pentax 6x7 and Rollei as the standard equipment for professional use. As they say, the best laid plans...... well, don't necessarily follow suit with preconceived outcomes. While the overall expectations were partially confirmed, it was the performance of the once-professional Mamiya RZ67 and the T-Max TMY (400 ISO) film I had loaded which gave me one heck of a jolt as to just how far digital from relatively tiny APS-C-sized sensors has come, and while I was hoping to prove that film still does B&W "better", I have to concede up-front that this is no longer true, and by a surprisingly huge margin at that. I still prefer the "look" of the non-linear tonal response, but that's where it begins and ends. So my quest to find a good used Fuji GSW 690 film camera and start shooting hand-held location and street on film again died a swift and permanent death when the scans started coming off the scanner. I think I'll put the money to far better use in buying either another lens for the Fuji X-T1, or maybe even a new Sigma DP0 Quattro. Thank you all the greedy bastards on eBay who were asking way too much for a 25+ year old obsolete film camera with absolutely nothing other than a fixed lens with inbuilt mechanical shutter, a range-finder viewfinder, a place to put a roll of film, and a shutter button and a crank to expose and wind on the film. You just saved me hundreds of dollars. Much obliged. For me, aside from maybe (very) occasional use of the RZ & RB67 cameras to consume the film I still have left in the freezer, B&W film is dead. So, to the results: I still think maybe that B&W film "looks" better, but IQ-wise the difference now is so great that no matter how good it "looks", you wouldn't intentionally use it instead of digital if you owned either a Fuji X-trans or a Sigma Foveon. The Sigma is still challenged with blowing out highlights and bedevilled absolutely awful software processing support, but the Fuji is none of that - the results are superb, the dynamic range more than adequate, and the equipment itself is a joy to use. I love holding and using that camera as much as I loved holding and using my Hasselblads over a decade ago. All photos cropped to roughly the same dimensions, resized to 1600px high, so you'll have to "click up", and better still, hit the "Click here to view full size" button after clicking up, and save them to a folder on your desktop so you can flick through them to really appreciate the differences. First image (shadow/highlight detail on a mainly monochrome subject) : Mamiya RZ67, TMY (400 ISO) film, 50/4.5 lens, f/16: Sigma DP1 Merrill 19/2.8 lens, f/11 @ 100 ISO Fuji X-T1, 10-24/4 lens @19mm, f/11, @ 200 ISO Second image (shadow/highlight detail, colour differences, vegetation and image resolution): Mamiya RZ67, 50/4.5 lens, f/16 TMY Sigma DP1 Merrill, 19/2.8, f/11 @ 100 ISO Fuji X-T1, 10-24/4 @ 19mm, f/11 @ 200 ISO Third Image (separation of many different colour shades tonally, shadow/highlights, fine detail retention) Mamiya RZ67, 180/4 lens, f/16 TMY Sigma DP3 Merrill, 50/2.8 lens, f/11 100 ISO Fuji X-T1, Zeiss Touit 50/2.8M lens, f/11 @ 200 ISO Method & conclusion: I used the digital cameras at their native resolution - the Sigmas because increased ISO is purely and obviously an amplification of the signal which adds noise, and processing the top layer only of the three-stack sensor for cleanest results distorts the colour response to that of the full three-colour layers when converted to B&W as a whole. Likewise I used the Fuji at 200 ISO to completely kill any possibility of the DR function kicking in as it can at higher than 800 ISO to dramatically increase dynamic range. The object was to see if film really does still have that legendary DR advantage. (No, it doesn't! ) I used T-Max 400 film as (1) I have the most of it left in stock , and (2) I assumed that the huge area of the 6x7 format would enjoy an unfair advantage over the minuscule APS-C sensors if used with finer-grain T-Max 100. (Wrong again! ) As I have already indicated, even allowing for the fact that a scanned negative won't be as good as a directly printed one, fact is that this is the way most negatives will be put to use these days - scanned and an inkjet print - at least that most certainly is the way that my negatives would be put to use. I have absolutely no intention of resurrecting my wet darkroom for printing, even though it is still fully assembled and operational. I've done more than my time under the amber lights over several decades, so never again...... I reckon the Fuji overall blitzes the field here - combining just the right amount of "organic" look with the superb resolution of the Fujinon and Zeiss lenses. I will now stop lamenting the past and start actively pursuing B&W again without thinking that "this would be better done with film". The Sigma can't be faulted for finesse in resolution and smooth tonal transition, but it really is hobbled by the lack of software support and its propensity to blow highlights. The Mamiya - well, that's just an antique, obsolete, collectible curiosity now. From this little exercise, I will now shut up forever about the superiority of film B&W. It isn't. View full article
  38. 8 points
    These are from the last couple of weeks; it is a long time since I got the chance to capture these species. In Alaska, the undergrowth in the forests is dominated by horsetails in the spring time opposed to Scandinavia. Please click for larger versions. European wood anemone, Anemone nemorosa. This first one with the 10.5mm at f/5 on D5100: #1 Then stop all the way down f/22 for the sun burst. This is not something I do often on the DX sensor. I was surprised how well the 10.5mm handled this: #2 A different perspective with the 135mm f/2.8 AIS @ f/3.2 on the AW1 at ISO 200 : #3 105mm f/2.5 at f/6.3, also on the AW1: #4 Two-some, 10.5mm @ f/14 on D5100 #5 Again 10.5mm @ f/22: #6 Another with the 10.5mm @ f/22: #7 105mm f/2.5 AIS @ f/2.8 on D5100: #8 The 105mm f/2.5 AIS @ f/5.6 on AW1: #9 If you look closely, there are two versions of mother and child inlcuded, 10.5mm @ f/8 on D5100: # 10: Enough nemorosa for today - dropped by a child,105mm f/2.5 AIS @ f/5.6 on AW1: #11 Less abundant is the Anemone hepatica. AW1 with kit lens has nothing to be ashamed of @ 11mm f/6.3 : #12 No spring in these areas without Tussilago farara, Colts foot. 135mm f/2.8 AIS @ f/4 on D5100: #13 The Norwegian name "hestehov" translates to "horse hoof", so a horse must be included: 135mm f/2.8 AIS at f/11: #14 The real horse hoof included although the image is not as orderly as I like, 135mm f/2.8 AIS @ f/5.6: #15 Then finally a couple of other signs of spring, both 135mm f/2.8 AIS @ f/6.3 on AW1 at ISO 400 in challenging light: #16: #17
  39. 8 points
    Somewhere in between Normandy and Paris, Df + CV 125mm apo lanthar. @f/4 1/3 sec 100 ISO. Thanks for looking, Francis
  40. 8 points
    Feeding titmice. D3s+300mm f/2.8 @ 1/2000, f/5 iso 2800, hand held.
  41. 8 points
    "Mary, I'm just having one more pint with the lads. If I'm not home in 20 minutes, read this message again."
  42. 8 points
    I am a Nikon user, which was just the luck of the draw. Of course I have the requisite lenses, like the triumvirate, Nikon 14-24mm, 24-70mm, and 70-200mm lenses, but I seldom use them. Why is not hard to explain. While they are remarkable lenses in their own way, none of them are highly corrected. Somewhere along my journey of photography, I began to see the difference in lenses and ceased to find satisfaction in the ordinary degree of lens correction. Too bad for my pocketbook! In the process of searching for what I originally called ultimate “sharpness” in lenses, which of course I initially assumed (falsely) was a just matter of better resolution, I gradually realized that resolution alone was not the answer. So I then fell into deciding that acutance (micro-contrast) made all the difference in what I was searching for. That held my attention for a while. Micro-contrast is very satisfying (and important) indeed. But then, very gradually, like the sun coming up, it dawned on me that the icing on the cake, the tip of the top, so to speak, was not just resolution and not just acutance, but lens correction, you know, all the hideous fringing we try to ignore or do away with. Somehow, perhaps almost subliminally, I could see the difference just by looking at photographs taken with highly-corrected (APO) lenses. And that discovery started me on my journey of finding highly-corrected lenses. I have written extensively about the virtues of apochromatic (APO) lenses, those lenses that have been corrected for the various aberrations, etc. Unfortunately, Nikon does not have many highly-corrected lenses in their current offerings. So I found myself wandering off-campus into other brands, lenses from Leica, Voigtlander, Zeiss, and so on. Of course, many of these lenses did not fit the Nikon mount, so in my search for APO lenses I found myself (with help from experts) rigging various mounts, searching for helicoids, and converting lenses to the Nikon F-mount standard. To recapitulate, I first gravitated to higher-resolution cameras (Nikon D3x), and then to those without AA (low-pass) filters (Nikon D800E, D810), D7100) which improved micro-contrast, and finally to apochromatic (highly-corrected) lenses. These three steps together brought me what I was looking for in my original quest for “sharpness,” in particular that last step, APO lenses. Pretty soon I wasn’t using Nikon lenses for much of anything other than family photos and a few other things. Instead I was using highly-corrected lenses like the Coastal Optics APO 60mm f/4 macro (forensic lens), the Leica Elmarit-R 100mm f/2.8 APO macro, and most of all the Voigtlander 125mm f/2.5 APO-Lanthar lens. This last lens, the Voigtlander 125mm was, for my work, the perfect macro lens. It was fast, had a focus throw (lens barrel) of a whopping 630 degrees or so, went to 1:1, and was highly corrected. At that time I knew of no other lens that had all those qualities. Of course I had a pile of Nikon macro lenses (200mm Micro-Nikkor, 70-180mm Zoom Micro-Nikkor, many Micro-Nikkor 105s, etc.), but they all were not well corrected. Then, with the help of a few lens experts, I fell down the rabbit-hole into the world of exotic industrial lenses. Now here Nikon shines! This group includes lenses specially made to view computer monitors (CRT-Nikkor-O), transfer Hollywood films (Printing Nikkors), reproduce whatever (Repro Nikkor), and grace photo-enlargers (El Nikkors). And it was not just Nikon, but incredible industrial lenses can be found from Zeiss and many others. In fact, the world of fine enlarger lenses has barely been touched so far. Much research remains to be done, with incredible bargains available to those who do it. And these industrial lenses really are exotic. Some are very fast, like the Repro-Nikkor, with a wide f/stop of f/1.0 and no focusing mechanism. Another is the 55mm CRT Nikkor-O (oscilloscope) at f/1.2. And the enlarger lens El Nikkor 105mm APO lens f/5.6, with its marvelous almost 3D qualities. I could go on, pointing out lenses like the classic four lenses for the Nikon Multiphot machine (19mm f/2.8, 35mm f/4.5, 65mm f/4.5, and 120mm f/6.s) or the Zeiss Luminars, the Leitz Photars, etc. Years ago I learned about many of the lenses from the brilliant lensman Bjørn Rørslett at this site: http://www.naturfotograf.com/lens_spec.html Most of these industrial lenses are a major PITA when it comes to mounts. Most are none-standard, so I have a whole box of adaptors, helicoids, and several bellows to help them out. And they are not walk-around lenses either; most don’t go to infinity, some only work at one distance, like 1:1, and so on. Why bother? “Bother,” because within their limited range, they offer some incredible opportunities for photographers. At least I think so. And in the midst of all of these exotic lenses, along comes Zeiss with their Otus line of APO lenses, which opens up another vast doorway to photographers. I had a number of Zeiss lenses prior to the Otus series, lenses like the Zeiss Macro-Planar macros, the 100mm and 50mm, and others. While the Makro-Planar macros were very sharp, they also were very not color-corrected, so their resulting photos were too “contrasty” and color-fringy for my work. However, the new Zeiss Otus APO line (55mm, 85mm, and 135mm) are just of incredible quality when it comes to correction. Although they are not made for close-up, I am making them work close because the results are worth it. I use small amounts of extension to bring them close, although as a rule I never use extension. Anyway, those are some thoughts about the value and beauty of specialized lenses. I would love to hear about some of the special lenses readers use, if you have time. I have many free articles, books, videos on lenses and close-up photography for those who want to learn more or see examples. You kind of have to dig around a bit on the site. Look under Macro-Stop, but also “Free e-books” and Articles: MacroStop.com This image, taken yesterday, was taken with the Nikon D810, a bellows, and the El Nikkor APO 105mm f/5.6 enlarger lens, one of the Nikkor exotic industrials.
  43. 8 points
    My contribution is from the Moab area that Carolyn loved as a B&W landscape photographer can truly be absorbed and consumed by that magical light and atmosphere. She will be missed. Corona Arch
  44. 8 points
    Such sad news. She was a kind person a great photographer. May she rest in peace. A B&W of Bryce Canyon as a tribute to Carolyn.
  45. 8 points
    I don't know if many of you knew Carolyn competed at competition showjumping for nearly forty years, for very nearly thirty years she would exercise fifteen horses a day seven days a week! Like many people involved with horses they are driven by passion and in Carolyn's case this extended to her photography and many other pursuits, she had even recently bought another horse! I never met Carolyn but she gave me a lot of her time via email as we discussed many aspects of equestrian photography, I will always remember the advice she gave me. This is not a landscape but I know it would make her smile...... As Mike would say..."Click up"
  46. 8 points
    One point I forgot: 100 viewfinder coverage. Because I really don´t like to crop the images. It is a relive to know you get waht you see. I was going through dinamic range, timing with the shutter, underexposed frames for later postproduction, auto wb...etc. This images kind of summes it up. Paddle under the bridge. No crop, no adjustments. Camera standar preset SOC. I´m happy
  47. 8 points
    one of those shots that make you feel good , quite happy how it came out
  48. 8 points
  49. 8 points
    warm fire and muscadel - we have real winter's weather here today.
  50. 7 points
    We do indeed have an incredible time here ... Below are a few of my images but please be aware that they are edited on a very small laptop with a crappy screen. I will repost them once I am back home on a decent screen. The stories to the images also come along with the later postings... Cheers Chris Here you go #1 #2 #3 #4 #5 #6 #7 #8 #9
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