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  1. 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
  2. 8 points
  3. 7 points
    ..and with it darker evenings. If I'm lucky at get out of work at just the right time, I can get some pictures as I walk to the station. It's an area I've taken pictures before, but with the light at this time of evening, you just want to take more! DSCF4229 DSCF4222 DSCF4218 All shots Fuji X-E3 and 27 f/2.8.
  4. 7 points
    Teekay. Tasmania, 27th February, 2019. Paper negative (2004 expired Ilfospeed 1.1M paper), Neue Görlitzer Camera Werke half-plate studio camera (c.1920-25), Voigtländer Heliar 4,5/240 lens @ f6.3, total 2,250 joules with three flash heads, softboxes & brolly. (Spots, edge fog and other paper-ageing artefacts left on image for effect.)
  5. 6 points
  6. 6 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
  7. 6 points
    Last Sunday I shot some Motocross at Canada Heights in Kent. Here are some of the results.
  8. 6 points
    Hi, These are the flyer and press release of my first exhibition in Italy. It would be very cool if you guys of Fotozones could come, although I will not due to a professional restriction (I'll be working offshore). Dallas, sorry if this invitation is not permitted in this forum or if it is misplaced. I could not find a better place to post it.
  9. 6 points
    Where I live I experience all the traffic of the Washington DC suburbs and the typical stress of large city commuting. I do my best to avoid it by traveling the back roads. Most commuters don’t see scenes like this because they drive the major thoroughfares, always in a rush to get to where they are going. I prefer taking my time and “smelling the roses along the way”. I think this proves it is worth the extra time. What do you think? This was taken with my Nikon Z7 + Nikkor Z 24-70/4S + a circular polarizer lens. I processed the image in Capture One Pro 12.
  10. 6 points
    Originally used to collect glacier ice to be melted to make water.
  11. 6 points
    Yesterday I went to Amsterdam to visit the NDSM quarter at the Northern part of the city. This part of town was for years neglected and became a hot-spot for the alternative scene. More info on the NDSM quarter NDSM Now it's rediscovered especially by young people as a hip and trendy place for living and relaxing. I think it's a lot more interesting than the old centre of Amsterdam which is being flooded with an overload of Airbnb tourists. I shot a series of images, all with my vintage (introduced in 2010) Fuji X100, the original version. All images are post processed from in-camera Astia Jpegs (I love Fuji colours!). 1. The ferry arrives from Central Station to the NDSM quarter. 2. Giant wall art image of Anne Frank by Brasilian artist Eduardo Kobra 3. NDSM quarter 4. A tribute to former and beloved mayor Eberhard van der Laan of Amsterdam who died of cancer in 2017 5. NDSM guarter 6. Old tram 7. Eavesdropper 8. Rose 9. Terrace with spa 10. Lots of nice street art 11. Crane Hotel Faralda, an old crane converted to expensive hotel suites and a bubble bath on top with a fantastic view on the city 12. Art City NDSM 13. Art City NDSM 14. Original detail in the Art City NDSM building (they used to built large ships here) 15. Units for artists at Art City NDSM 16. A tribute to the history of the building 17. What would Amsterdam be without the tourist cliche of a peepshow? 18. People enjoying the February sun at restaurant/bar "Hangar" 19. Just around the corner this characteristic building "Op Zeezand" 20. And back to the other side of the river IJ with this ferry
  12. 6 points
    My Nikon Z7 arrived and a hefty little thing it is. No, it is not as large as my D850, but it is heavy enough with a lens on it. Of course, the first thing I discovered is that there are no L-Plates that fit the Z7 yet available. There are many for preorder, but when I called Really Right Stuff and ordered one, it seemed from talking with them that they have not yet even figured out how they are going to approach the FTZ adapter in relation to L-plates. So, for now I have to use a large and heavy (giant) L-Plate adapter from Novoflex for portrait mode. Either that or swing my Arca-Swiss Cube geared-head 90 degrees, which is a real pain and hardly worth doing.. In fact, it dawned on me that if the only reason I am getting a mirrorless Nikon is to save space and weight, the savings are not that great. As mentioned, the Z7 is still a weighty thing. So, what’s left? For me, there is the new mount and the promise of faster lenses wide open, which I would like a lot. But that is down the road. As for the FTZ adapter, it seems great. In fact, once attached, the camera feels like any DSLR all over again, so tightly does it fit in. I also look forward to mounting the Z7 on my view camera with a Z7 bayonet and gaining a little added focus range there. I have mounts for that on order. As for the EVF, yes! It does feel like an OVF or at least I am not conscious of it being electronic as I have been with other mirrorless cameras I have owned (Sony, Hasselblad, GFX, etc.). It is really nice AND YOU CAN MAGNIFY IT! As for the rear LCD? It’s about what I am used to with the D850, so no problem there. My pocketbook groaned when I played with the 24-70 f/4 lens because it is obvious that it fits the camera like a glove and if the new mount ups the APO-quotient for native lenses to come, I can see myself wanting a few more of these natural Z7 lenses IF they are ever produced. Perhaps it’s time for me to off-load some of my many legacy F-mount lenses! We will see how many APO-quality native lenses for the Z7 appear. As for menus and buttons, well, what’s new? Every camera-iteration has some of that and while the Z7 is a lot like my D850, it’s different too. The little OLED (or whatever it is) on the top of the camera is very handy and easy to READ. I can see that I will probably do a lot more point-and-shoot with the Z7, since it is so “handy.” As many have said, this is not simply a replacement for the D850, but something in itself. I imagine a smaller kit to travel with that contains the native 24-70 Z7 lens, the FTZ adapter and one or two legacy F-mount lenses. And since the video in the Z7 is a step-up, I can see using it (with an XLR-add-on) and ported to my Atomos Shogun Inferno as 10-bit 4K 4:2:2 FF video (and log gamma modes too!) to do interviews or whatever. I won’t have to carry a larger dedicated video camera, etc. like my Sony FS-5, etc. I have yet to see for myself (or hear from others) if anything else about the Z7 is problematical, especially if the image quality is as good as the D850 and if the banding-issue that some document affects my work. My guess is that it won’t. [LATER: Having shot a bunch, for my work, I don’t see any problems with shadows and blacks. Perhaps for astronomy work, there are considerations, but for my work, not that I can tell so far.] So, I am just getting familiar with the Z7. Next for me, is to try a lot of non-native lenses via the adapter and see if everything is equal. UPDATE: on the Nikon Z7 for my particular use. I like the Nikon Z7, but like all things, using it for a while brings with it some realizations, which I want to comment on here. I have the Nikon Z7, the FTZ adapter, and the 24-70 f/4 native lens. Please note that the kind of work that I do (close-up, focus stacking) requires a lot of precision and great lenses. Using the Nikon Z7 with its own 24-70 f/4 lens is fine for general snapshots and perhaps even for some more semi-serious work. However, I find, while the 24-70 is sharp-ish, it is not sharp like the lenses I am used to (Otus, APO, etc.). I am sure it was not intended to be that sharp. It seems well-enough corrected IMO, but the sharpness is not quite what I require. It is a little weak in that area, IMO. This, of course, is disappointing, but I pretty-much knew this coming in. Of course, I hoped for a miracle. LOL. On the other hand, using the FTZ adapter I have access to many APO lenses that I have collected over the years, including the set of Otus lenses plus the Otus-like 135 Zeiss that presaged the series. They work great on the Z7 as they always did! I am hurting for lack of a proper L-Bracket and have had to use the Arca C1 Cube for vertical/profile shots, which means leaning it 90-degrees from horizontal, which works but is not what I like to use. So, I might as well use my D850 for which I have a great RSS L-Bracket. [Note: I have since found an L-Bracket that works that is available now.] https://www.amazon.com/gp/product/B011JKE28U/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1 This L-Bracket will work with the FTZ adapter. If you want the vertical element to fit closely to the left side of the camera, you may want to cut off the very far end of one of the stainless steel rods, which is easy to do and then it fits snug. The tip of this rod stops the 1/4-20 screw from going to the far edge so that we can cope with the FTZ adapter. Inexpensive too, relatively ($89). Things I especially like about the Z7 are the EVF, which I find myself using more and more. With the D810 and D850, I never used the OVF (not ever), preferring to work on the back-LCD in LiveView. But the Z7 EVF is really amazing and you can magnify it, which of course the older OVF cameras could not do. I am using it much of the time, especially outdoors and with landscape shots. To me this is a HUGE feature. So, I am keeping the Nikon Z7. However, and this is a big “however,” unless Nikon releases APO/Otus level lenses for the Nikon Z7, I will be using the Z7 with the FTZ adapter for most of my work, which makes it essentially a mirrorless DSLR, which is OK too. For family photos, casual walk-around work, and perhaps for semi-serious work, I could use the Z7 with the native 24-70 f/4 lens. But, when I ask myself, I might just as well use the better lenses I have any time I do serious photography. They are just so much better. You get the idea. The Z7 for not-so-sharp work with native lenses, but I do use the Z7 + FTZ adapter for my regular work. And, to repeat, if I am mounting the huge Zeiss Otus lenses, I might just as well use the Nikon D850 for the added support. And so it goes. However, I find that I will definitely be using the Z7 on my view camera, the Cambo Actus-Mini. It is perfect there and when I get a Z7-Bayonet for the Actus (on order), I will be able to get even more focus range from my exotic lenses, which I very much need. In summary, I love the Z7, but without the FTZ adapter I am limited in what I can do with it. As Otus-level lenses come along native to the Z7, this should be much different. I would love an APO lens for this mirrorless camera, especially a macro! FTZ and the APO El Nikkor f/5.6 lens
  13. 6 points
    From the same trip where I took the landscapes in the other thread. It is much more difficult to find Polar Bears in Winter than it is in Summer. In Winter, there is much more ice where the bears can freely roam and since it is not allowed to break the ice (the ship) we couldn''t get close to some places. In addition, we were one of the first ships out in the ice so there was almost no information from others to help track down bears. Watching those bears at -25C (and colder) while snow is falling heavily and being out on that other planet called arctic is something never to be forgotten ... Chris #1 Mr. Bear #2 #3 #4 Mrs. Bear #5 #6
  14. 5 points
    And a trip by 4x4 to the National Park Pelister. 16. 17. 18. 19. North-Macedonia is definitely worth a visit! Thanks for watching and making it to the end of this post 😀
  15. 5 points
    I took a different approach this year for the safari trip and rather than relying on the staid & reliable Nikon or Sony 35mm DSLR systems with their plethora of long stabilized lenses I brought along my Fuji GFX medium format system instead. I used the GFX50s, GF 100-200/5.6, GF 250/4 and 1.4x teleconverter pretty much exclusively with a back up Sony RX100 VI just in case. I think that it worked out well as I got a bunch of images that I think match anything that I've achieved before. I just need to work through the hundreds of images to select the keepers. Here's a sample set - all taken with the GFX50s:
  16. 5 points
    Just for Mike G who doesn't like black and white! This looks very ordinary in colour.
  17. 5 points
    ...behind the shed this morning, a large-ish orb weaver spider. X-T2, 65-shot hand-held auto focus stack, put together with Zerene Stacker.
  18. 5 points
    My home county of Essex boasts one of the longest coastlines in the UK, it isn't one of the most exciting with none of the dramatic cliffs that can be found elsewhere in the country. It does however have a beauty all of its own.
  19. 5 points
    I spent the last two weeks of January aboard the Hans Hansson in Antarctica. This was a photography expedition organised by Visionary Wild, whose founder Justin Black was one of the professional tutors. The other tutor was Daisy Gilardini, with whom I have travelled in the past.I am still working through thousands of photos, but these will do as a start.
  20. 5 points
    Shot on March 12th.
  21. 5 points
    ...and to satisfy a long-term desire to produce authentic-looking images on my ancient Görlitzer Werke wooden studio stand camera with its equally ancient Voigtländer 4,5/240 uncoated triplet lens, I loaded some long expired Ilford Multigrade glossy paper cut down to half-plate size into the two film holders that were included with the camera at auction some 35 years ago, set up both my Fomex HD1000 monblocks belting all 1000w/s each through softboxes pointed directly at, and just 1 metre, from me. With and additional 200w/s Multiblitz bounced off a brolly as a token hairlight (not really necessary these days ) and guessing at the focus (which I missed by a sliver, but that only added to the authentic look), I opened the in-front-of-lens accessory shutter with cable release in my left hand, triggered the flashes with the remote in my right hand, and closed the dark-slide and headed for the darkroom while floating through the amazing residual image of 2,000w/s of flash having blitzed my optic nerves from arm's length (I had guessed the paper's speed to be about 1 ISO, so plenty of light was needed). Processing the paper neg, I fixed, rinsed and dried it, then digitally copied it and headed for the computer to invert and adjust levels. Looking at the result up large, complete with all the bits of dust and crap that float around the inside of a 100+-year-old camera, along with the missed focus and the leather-for-skin the blue-light sensitive printing paper renders, the smooth and creamy emulsion looks every bit like that from a 19th Century Collodion wet plate. Toned to mimic albumen paper after gold toning, I think the image works well. As I don't have any 19th Century clothing here, I thought no shirt would also help rather than hinder in not dating the photo as modern. If I were to print this unresized at 360dpi, it would be 28" high, and absolutely grainless, which is also something of antiquity. I didn't bother about background as I figured everything would be well out of focus, so I just set it all up in my long closed-down gallery, but here's what this selfie setup looked like (the chair was just there for me to back up to to my guessed focus point - I was standing for the shot): No matter how fast the lens you slap onto a digital camera is, the "look" of an old triplet lens and half-plate format on really slow stock can really only be achieved in this way, I reckon.
  22. 5 points
    One of the nicest houses I have photographed this year. A really simple, but wonderfully flowing layout from front to back. Shot with Olympus E-M1 and Leica 8-18mm. Edited in Lightroom and Aurora 2019.
  23. 5 points
    After he woke up, we became good friends.
  24. 5 points
    My colleague had been periodically taking photographs of the gardens at a stately home in the UK for the National Trust over the last couple of years. He was however somewhat taken aback when asked to photograph the 400 year old estate map drawn on vellum, that hangs in the Great Hall, not knowing if it was a practical proposition for amateurs to tackle. We were discussing it one night over a glass of wine (or two) and decided that with a joint effort it would be ‘fun’ to have a go. It wouldn’t be a paid commission so failure would not be an issue. And so it was that we presented ourself as the venue during the early part of 2018 for a trial run. I should explain at this point that a detailed image was required so that all of the minute fading ink writing could be seen showing the field boundaries, size and owner notation. The plan by the NT researchers was to overlay our image on the current OS maps to see how the boundaries had changed and if any of the properties were in the same family ownership. The map is over 6 feet wide and 8 feet deep, rippled, falling apart and could not under any circumstances be touched! Lighting was a problem. Because we were going to be stitching several images, it had to be even and consistent. In the end I bought a flat panel LED light that fixed to the camera hot shoe, which proved ideal, and our trial shoot taking and stitching 4 images was very acceptable. Like all big organisations various permissions had to be obtained and it was only this week that we were able to get cracking. Access was the big issue for the main shoot as the top of the map was at least 10 feet high, but the NT volunteered to erect a tower scaffold for us, hopefully to solve the problem. The broad plan was to use my D750 with a 35mm prime lens. The 24Mp sensor would provide enough detail in files that were not too large in comparison to my colleague’s megapixel D850. The 35mm lens would give a reasonably wide field of view, be relatively distortion free, and stopped down to f8 should overcome the ripple problem. The rig would be tripod mounted and tethered to a laptop so that the images could be transferred and viewed immediately to check focus. The tower scaffold was a nightmare. It was not wide enough to cover the whole width of the map by about 6 inches either end and the number of braces and safety rails made accurate positioning impossible. Oh and then there was the glass lantern! Again very old and precious that hung down below the top of the map and inside the tower scaffold platform. We decided in the end to hand hold using the various bars for support despite the risk of camera shake. We would only use the tripod at the lower levels when the scaffold was out of the way. So imagine if you will me squirming about on the platform, on my knees, sitting, lying down, while my colleague dutifully held the lap top and tether and checked each shot for positioning, exposure and focus. All going fine until the LED panel fell to the floor, but mercifully undamaged when recovered. To cut a long story short it all worked. We ended up with 25 images that would need stitching together, each image being about 31Mb. Enter Lightroom. Clearly each image had to have a consistent look and so I edited the first image to get maximum clarity and from this created a preset. The remaining images were quickly edited using the preset with very satisfactory results. My first thought was to stitch each horizontal strip and then combine the strips, but Lightroom informed me that this was not possible. I ended up by selecting all 25 RAW images and hit ‘panorama’ and went off for a cup of tea, came back and went off for another cup of tea …. Eventually my final image appeared on the screen, 15,633 x 18,552 pixels, and a file size in excess of 1Gb. How easy was that? You can see the results in the accompanying photographs. The seams that you can see on the finished map image are the joints in the velum not from the digital stitching, and the distortions on the edges replicate the curled edges of the original exactly. It was a great exercise with a pleasing result, and I know that both both my colleague and I learnt a lot from the need to improvise. The first image shows our set up with the scaffold removed, the second the final image and the last a small extract from the final image at 100%.
  25. 5 points
    Two images shot in Luxembourg City. Images converted to b&w with Nik Silver Efex (with use of red filter to enhance the skies). 1. Adolphe-Bréck/Pont Adolphe/Adolphe-Brücke/Adolphe Bridge (built 1900-1908) 2. One on One (by Moreno Architecture, built 2015)
  26. 5 points
    A few weeks ago "AirVenture 2018" better known as Oshkosh took place in where else, Oshkosh, Wisconsin. 2018 marks my 11th consecutive year in a row to visit and photograph this monumental event. The scale and scope of this event is hard to imagine unless you have visited it in person. For the over week-long event, over 600,000 visitors, 5,000 volunteers, 10,000 aircraft arrivals, almost 20,000 aircraft operations, almost 3,000 show planes and over 40,000 campers in 12,000 sites on the airport. For me, it is one of the few airshows I attend and photograph, so it always takes a few days to re-learn my airshow photography techniques. I tend to want shots a bit different than some of the other airshow photographers seek out, and I also like to push the envelope in my post-processing for some different looks. I am pleased to present a sample of the 5500 photos I took during my week in Oshkosh. My eleventh trip to the event also marked my very first air-to-air photography experience. Please take a look and see what you think, constructive comments are always welcome. I will continue to add photos as I continue to process photos. Saturday morning marked a monumental event in my modest photography life. I was able to take a flight in a 1940s Vultee BT-13 trainer along with another Vultee BT-13. I occupied the rear seat (including strapping on a parachute) in the BT-13 named "Lucky 13" piloted by Hunter Reiley. All I asked was "please do not humble me" as I just want to take photos and not lose my camera (and a very light breakfast!). Hunter was very smooth and gentle with me, and I think we captured some great photos of his friend Kelly's BT-13. E-M1 mkII and Olympus 12-100 Pro
  27. 4 points
    Perhaps I would be better describing it as 50fps burst mode.😉
  28. 4 points
  29. 4 points
    The meeting of the Rhine & Mosel at Koblenz. From one of the Gondolas. Lumix G9 + PLeica 12-60mm @ 1/1000 f4 ISO200
  30. 4 points
    Dallas, Here's a gullwing Mercedes for you (Mercedes 300SL). Could be a nice restoration project for you!
  31. 4 points
    Hopefully there'll be some interest in this Analogue Club along with a few posts as well. I've been back with film (monochrome only) for over two years now, and for me it's been the best thing I've done for a long while, having completely reversed what was a declining interest in taking photographs, which I had initially thought was just a natural thing after nearly 50 years of being involved professionally, but has since been proven to have been caused by a boredom and disenchantment with the digital methods having taken over, and the predictability and expense of both the outcomes and the incessant update cycles of both camera and computer equipment that has resulted. Having recommissioned my dormant darkroom and bought a virtual barrow-load of film cameras from 35mm through to a half-plate Thornton Pickard, including a bunch of pristine lenses to suit (and all for less than the cost of a single pro digital body), I have an equipment arsenal that will outlast me with nothing further to buy than film (after I get through the dozens of rolls in the freezer left over from when digital became mandatory in the industry), and fresh photographic paper when and as needed (which costs less than plain cotton-rag inkjet paper), and therefore I'm all set for a film-based retirement. Meanwhile my digital outfits have been gathering dust, other than when I use the Fuji to photograph my film cameras and lenses to illustrate posts on my equipment the Internet, or the Sigma sd Quattro H to photograph the negatives to post the images online. I have now settled on the somewhat quirky Pentacon Six cameras as my go-to system , and somewhat enjoy the intrigue of why there is always a question in the back of my mind when I am using them as to whether they're working correctly or not (everything is pre-1990 in manufacture, after all). However the results continue to please me greatly, and that is no doubt helped by being familiar with the medium through having spent the greater part of my career using nothing but film, and most of all B&W film. Unfortunately I have discovered that the conversion of film negs to digital and the reduction in resolution through resizing for the Internet is not at all successful in transmitting what an actual photographic print from the negative actually looks like, an idea of the appearance of the finished article can be obtained. However, and almost inevitably, interpolation accentuates the graininess of the image often to a ridiculous degree, which is partially why I am sometimes reluctant to post. However, that aside, I welcome this subset club of Fotozones and hope that it does attract at least a few participants. Last Friday I escaped the dreary cold of the fog shrouded valley in which I live to take a day's drive up into the Tasmanian Midlands town of Ross, and once again came away amazed that I'd managed to spend a day with my camera and yet only shoot 10 frames on one film, most of which I was perfectly happy with. The difference between that and the now over-shot barrage of images that a normal digital shooting day routinely involves is obvious, and it's a working style I far prefer, carefully composing and calculating each shot before pressing the button, rather than "shooting around the shot" and leaving a headache of editing in front of a computer monitor to follow. Again, low-res copies, but here are a few that I took, mostly with the extraordinarily good and flare-free Carl Zeiss Jena 4/50 lens on a Pentacon Six body and expired Ilford 400 Delta Pro film. There's nothing in Australia to beat the Tasmanian mid-winter light on a still, cool day, and nothing like the silvery glow of B&W film to to justice to that light. Church Street, Ross, without the summer hordes of tourists: Ross Uniting Church: 1836 Ross bridge: Overgrown sign at the Scitch Thistle Inn: And one for good measure - the next morning the fog still hadn't lifted in New Norfolk, but that, and freezing temperatures were not enough to stop hardy Tasmanians holding the usual Saturday morning street market, even if attendance was below par:
  32. 4 points
    One of my favourite animals to photograph are wildebeests. They are often considered to be one of the ugliest animals in the bush, but I love them. This shot I am really happy with as they seldom look you in the eye - they are extremely skittish around humans. This with the Olympus E-M1X and 300/4.0 PRO.
  33. 4 points
    Dutch economy is booming, lots of (building) activity in Amsterdam. All images Nikon Z6 + Nikkor Z 24-70mm f4 S 1. Amsterdam Tower and Filmmuseum EYE 2. Pontsteiger Building (a penthouse on top is for sale for 8 million Euros) 3. NDSM Quarter 4. Shipyard and marina
  34. 4 points
    From a recent visit. Windy, blustery, and scenic. Photogenic area, also. GB
  35. 4 points
    From a recent trip. Nikon D5 and Z6. Thank you for looking. 1 2 3 4 5 6
  36. 4 points
    My views of this wonderful masterpiece. 1 2 3 4
  37. 4 points
    I've just got my hands on an X-E3. It seems to be a little bit of a forgotten camera in the Fuji line up, even though it is right up to date with the same sensor as the X-T2, X-T20 and others. I've only really had an hour or so of handling it so far due to other commitments and haven't shot properly or got to the bottom of all the menus and settings. The first thing that stands out is the size - it is small. A bit bigger than my old Nikon J1, although with the 27 f/2.8, it almost squeezes in to the same case I use for the J1 and 10 f/2.8. The buttons are tiny too, although they seem well enough spaced out to avoid mis-pressing them. There is a shutter speed dial and exposure compensation dials as well as two command wheels (front and rear), but there isn't an ISO dial like some of the bigger bodies. I haven't got the hang of what the various buttons do and what the command wheels can be programmed to do yet. It has a slight ridge on the front rather than a grip and I find I'm twisting my finger down the front of the camera to hold it - something that will not be comfortable for extended periods, but given the size and the way I plan to use it, it is easy enough to slip into a pocket, so you don't need to be holding it all the time. I'm not sure how it will feel with bigger lenses, as I've only tried the 27 f/2.8 and the 18-55 so far. The view finder is off to the side, but I don't find that a problem. Even with glasses, I can get close enough to see the full viewfinder (perhaps because my nose isn't in the way). The view finder also lets you get a good view around the camera if you can manage that sort of thing. The viewfinder seems responsive although I managed to provoke some flicker with low shutter speeds under fluorescent light. It seems to jump quickly into focus and in some regards feels similar to the J1 rather than my D7000, even though with the 24 MPixel APS-C sensor it represents an upgrade in that regard too. A couple of quick high ISO shots look good and it will probably be OK a couple of stops beyond the D7000 (and obviously way beyond the J1). OIS on the 18-55 seems good too. Obviously the 27 and 18-55 might not appeal to those wanting the more traditional manual handling common to the Fuji system, the 27 completely lacking an aperture ring and the 18-55 with an unmarked ring, which although it clicks nicely, will continue to rotate fully and take you back to wide open from fully stopped down (that was the command wheel behaviour with the 27). Hopefully the coming weekend will provide some more shooting opportunities and allow some more detailed comments.
  38. 4 points
    I am quickly displaying some of my St. Mary's Potlatch photos. You may find some of these to be a little "different." Being Presented. You are given your Eskimo name. At this time. The names are from departed people, but during potlatch their spirits are in the person who is being presented. A little later today the spirits will return to the spirit world, and potlatch is over. Each family that ha presented their relative then dances. They have their own "new" songs and dances for this occasion. This young woman was just presented, but this is taken during her first family dance. After the first night of potlatch there is giving of food to the men. This year we have lots of moose around, so a couple of guys told me they were going out to get a couple of moose....... And they did. The big pile on the left is one of the two moose they got.This moose was walking around only 60 hours earlier. Most of the fish were frozen. But quite a few were still relatively fresh, having been caught in nets within a few days of this distribution. Top center is a beaver. The gift giver kept the hide (it may have been given out at the potlatch dance event.) The beaver tail is stuffed into the chest cavity. If you are really having a lot of troubles with aches and pains, there is nothing quite like having a big serving of soup made with beaver tail. Also, the beaver testicles are boiled up, minced, and used as a surface rub. And if you think about for a second, consider salicylates. This is a natural form of something similar to aspirin. I have to confess, I prefer aspirin. I do not like fish. I love catching them with rod and reel, but I do not like them. I do not eat fish, and do not want to smell fish. Our community hall absolutely reeks of fish today. Fish slime dripped onto the floors, and is tough to get absolutely , completely cleaned up. I just left the hall after it has had much cleaning done. And I STILL smell fish. I occasionally eat salmon (grilled,) but that i about it for me. So here I am in an area that is still rich with fish, and I hate fish. I do eat moose and caribou. And I once tried whale... but ONLY once, and never again!
  39. 4 points
    Reviewing some pics I took some years ago. Nikon D4s & Zeiss 21mm f/2.8 and 15mm f/2.8 Distagons and fisheye AF Nikkor 16mm f/2.8. Thank you for looking. 1 2 3 4 5 6 7
  40. 4 points
    Pelicans are a common occurrence along the Gippsland Coast #1 - Lone Pelican Pelican Couple #3 - Incoming #4 - Landing #5 - Formation Some Gulls from the same trip can be seen here
  41. 4 points
    I got the email a few days before Christmas. Would I be interested in shooting a house in Umhlanga Rocks for their International Real Estate magazine? When I had picked myself up off the floor I replied. "Of course, but let me just check my schedule..." Not really a joke, I was flat out right up until the week before Christmas, so I slotted this one into a very bright and sunny Saturday morning. The editor I was working for was very specific that they wanted a daytime shoot and not a twilight one because they want the houses to be presented as close to reality as possible. God was smiling on me that day because our weather had been truly awful on either side of the shoot date. Anyway, I submitted about 44 photos of this incredible home and they chose 13 for the slide show. I am very happy to present the link to the article for you here.
  42. 4 points
    OK, not your standard dancing. Although it is pretty warm for this time of year, fishing is done, with smoked or dried, or just salted fish put away for winter. Most people have their moose meat in the freezer, and it is time for a few social activities. SO..... Eskimo dancing is starting up. These are just practice sessions, with the really hard work yet to come. I have tried as much as possible to capture the dancing, BUT, I also wanted to get as much of the background activity as I could. Look in the background and you will see a lot of texting going on while the dancing is happening. Younger children (mostly the boys) are trying to learn to drum. They are selecting the best drumsticks and trying to look like they are "one of the boys." So, we have old cultural traditions, combined with new technology. I am fighting with cameras and the room characteristics. Relatively low ceilings, at least 6 or 8 different brands of florescent tubes, with probably all of them having a different number of hours in use, some rapid motions, and high ISO's. Most of these are from last night. I thought my first night was terrible, so I mostly stuck with long lenses on night 2. I made liberal use of the 50-200 4/3 lens with an adapter (and not the 1.4x TC) and some of the 9-18 zoom, both on an EM1, Mark II. Also, a Tokina 11-16, and a Nikon 55-200 on my D500. I also used flash, as well as available light. I am still trying to deal with the challenges caused by architecture, as well as the dancers, themselves. I am really having fun with some of these photos. I hope you enjoy them. These two boys have not learned this dance yet, so they are turning around and trying to copy the girls. Picking out a good drumstick: And follow the action of the girls on the top row of the bleachers. Young drummers, and young texters And a VERY young dancer, perhaps for next season? She ALMOST has the right hand motions.
  43. 4 points
    Absence easily explained: Top centre left: install plastic Fresnel/microprism/split-image screen with optional separate glass grid overlay in Pentacon Six 51mm x 51mm viewfinder, thereby replacing dull, fat glass standard screen (balanced middle right) and sourced from dead Kiev-60 (top right) which supplied its standard 55mm x55mm screen (several hours of patient sanding to reduce the glass overlay 2mm on each edge keeping the grid centred that way, and less time to do the same with the plastic Fresnel screen). Finally cut three layers of old film to a 1.5mm wide border square to separate the glass grid from the split-image bulge (can be seen as a pinkish line on this angled shot, top left, but invisible when seen through the viewfinder). Then many more hours sanding an old piece of window glass sequentially with 180, 360 and finally 600 grit wet-and-dry carborundum paper to make a fine ground glass (balanced middle left) and, with breath held, cut glass to be an exact friction fit onto the film transport rails/film plane to allow a tedious back-and-forth sequence of remove viewfinder screen sandwich, adjust three support screws, replace screen sandwich, check focus of film plane ground glass with screen.... and repeat...etc... until both were exactly the same, instead of 4" front focused (at 2metres with 120mm lens) from the original's position. You wouldn't think a fine Fresnel would add that much error, but my first film before the adjustment certainly showed this to be the case. Meanwhile partially dismantle and restore to working order an old Praktica Super TL camera kindly donated by Hugh_3170 with a cocked but jammed shutter and a meter which only maxed the needle out when switched on and thus didn't give a reading. Then dismantle an otherwise beautiful Meyer Optik Görlitz Oreston 1,8/50 so as to remove the old and really dried-out helicoid and aperture ring grease and give both a light coat of modern, non leeching grease. And finally, lower right, grind a circular piece of cheap and disused +1.5 dioptre reading-glasses lens into a circle using the slow, geared-down knife-sharpening wheel on an electric bench grinder to snugly fit into the Pentacon Six metered prism detachable rubber eyepiece and held with a minimal amount of plastic glue so that I could focus that without glasses - the standard prism must have about a +1 dioptre correction as it didn't give me a clear picture with either my reading glasses or my distance glasses on, and naked eye viewing is well and truly past tense for me, no matter what standard viewfinders come with. All of this is to comply with my intention that my return to film photography and provide the classes I'm teaching in using B&W film to be as economical as possible, and anything that could be made or fixed from parts in hand or supplied, would be. This is what photography used to be, anyway - a career of forever improvising and making equipment to suit or as needed to replace that which was broken, before digital came along and totally upset the apple-cart with its sophisticated electronics, glued tight plastic constructions and proprietary bespoke software. I mean, Daguerre and Fox Talbot didn't just order stuff from B&H or Adorama - they made almost everything they needed themselves, which to me was always part of the intrigue and fun of photography. Well.... you did ask.
  44. 4 points
    I stumbled across this old photo hidden away in an shoebox on the attic 😉
  45. 4 points
    An old (1842) outhouse that had a tree seed germinate in the shingles of its roof, cover the building by sending roots down to search for water, and then died, leaving this odd relic.
  46. 4 points
    For some time I have been trying to capture the diversity that can (and usually DOES) occur within a small patch of tundra. I am not trying for a macro shot of a flower, but of an in focus, good depth of field, of a patch of tundra. Between rotten weather, winds, shadows, and my tendency to make the same mistakes over and over again, I have not done well with this. However, yesterday between rain, clouds, winds, and more, I think I finally got a few images that satisfy me (almost.) This time I went for depth of field at the cost of wind motion, my shaking, or whatever other cause of poor focus. So, here is the rather feeble result: First, this is a "landscape view" of the ground I am about to image: In my mind this is not that much different (visually) from rolling hills and grasslands in many parts of the US. I have seen many areas in western North Dakota that would look a lot like this.... until you step out and try to walk on it; or look at the ground cover very closely. The following images were taken within 20 yards or so of where I stood to take the landscape shot, above. So now, for a "detail" shot: And maybe another: And these are not that unique. Yes, I was shooting for color, but diversity is really all around me. So, does this convey, with enough depth of field, the complexity of the terrain I am trying to portray? But then I cannot resist some of these images, either:
  47. 4 points
    I haven't been a around for a very long time and thought I could share some of my latest work ... So without many words ... here you go ... Chris PS: All images taken in Svalbard, End of March 2018 ... #1 #2 #3 #4 #5 #6 Watching the full moon rise while being on a parked ship in the middle of the ice is an experience that only better writers than me are able to find words for.
  48. 4 points
    Gloster Meteor, the second oldest flyable jet aircraft in the world, E-M1 mkII and Olympus 300mm Pro
  49. 4 points
    B-29 Superfortress "Doc", one of only two flyable B-29s in the world, making a great low pass down runway 36, E-M1 mkII and Olympus 300mm Pro
  50. 4 points
    Flower nearly all whit so changed it to B & W
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