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Alan7140 last won the day on 1 August

Alan7140 had the most liked content!

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3,411 of my posts have been liked

About Alan7140

  • Rank
    Grandmaster Member
  • Birthday 07/01/1953

Profile Information

  • Gender
  • Location
    Tasmania, Australia
  • Interests
    Photography, Guitar
  • Edit my pics?
    Ask Me
  • Fav. Camera
    Fuji X-T2
  • Fav. Lens
  • Fav. Editor
    Photo Ninja

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  1. Alan7140

    Oshkosh 2018 Airshow

    Greg, that Raptor shot belongs both on the cover of an aviation magazine and on the racks as a poster. It certainly has commercial (as well as aesthetic) value. Unfortunately I'm never likely to ever see an F-22 in real life, but this shot certainly makes up for that!
  2. Alan7140

    Oshkosh 2018 Airshow

    What a fantastic set of photos. I'm both insanely jealous that you are able to attend that famous airshow, but even moreso of the phenomenal quality of your photos. They're all outstanding, but that last one is like no other airshow photo I've yet seen. Almost surreal, it's simply stunning.
  3. Alan7140

    Fujinon 23mm f/1.4 vs. f/2

    Until you get a handle of stitching, Merlin. The 23/1.4 enables some extraordinarily detailed panoramic results once you stitch a few portrait-oriented shots together. 23mm is about as short a focal length you can use for this before visual distortion in the final image becomes a problem. The IQ of the 23/1.4 really comes to the fore when doing this. For stitching try Hugin for Linux. The base program for Hugin - PanoTools - still forms the basis of the commercial program PTGUI, which is also available for Linux, but it is expensive.
  4. Alan7140

    Alpin Drums

    Great stuff, captures the atmosphere of the performance well.
  5. Alan7140

    Nikon Had No Choice

    Who said anything about a mirror? By simply pointing out the fact a certain manufacturer which decided to ignore advancements in technology for years is now suddenly joining the fray and claiming to be "leading innovators", I was only making a valid observation on a corporation's management and apparent hubris, not on the technology per se. We all know that things are changing, just some manufacturers seem to be a bit slow on the uptake. SLR technology is still absolutely current if you're using film (as I have been increasingly doing of late), and there is no use for any of the modern digital image capture technology when using film. As a technology the Nikon F4 I used between 1993 and 2005 was pretty much the ant's pants - even the last in the line F5 lent little improvement to what that F4 was capable of. The SLR system was honed to perfection with film cameras. Compare it with the cameras in use in the 19th and much of the first part of the 20th Century and its easy to see just what a fantastic product the film camera had developed into by the 1990s - instant return mirrors, superbly designed viewfinders using the capture lens image instead of some separate lens to view the image and so enabling accurate framing with a bright clear image that accurately showed the focus point (the F4 is still the best non-digital viewfinder system I ever used), inbuilt meters again using the taking lens as their source, auto focus, auto exposure - just some things that spring to mind (having frequently been a user of older technologies such as view cameras, rangefinders and twin lens reflex cameras myself in the past). Unfortunately I think the popular and commercial era of still photography using dedicated equipment is nearing an end, but were it to survive for another century or so, I would be equally certain that DSLR cameras will be regarded by historians as being the equivalent stepping stones that those earlier film cameras were between the Daguerreotype, Tintype, Ambrotype and collodion plate apparatus compared to the ultimate expression of SLR cameras, should they even bother to compare DSLRs to whatever pure digital capture devices eventually wind up as. Should I be right in theorising that popular still photography has a life measured in a decade or two rather than centuries, the whole thing becomes pointless anyway as to the gear involved. While it may persist as a hobby or art form, it's not hard to imagine that as soon as a hand-held device that captures a holographic/VR movie clip that can be instantly streamed of any subject, popular and commercial interest in the still photograph will evaporate along with whatever the latest still capture device of the day might be.
  6. Alan7140

    Expired Sheep

    Expired sheep (2017) taken with expired Agfa APX-25 film (2004) processed in expired Rodinal developer (2002) using a 1991 ARAX-60 (a.k.a. Kiev-60) with 1980's Carl Zeiss Jena 2,8/120 lens. Talking about dynamic range - the white bleached skull was half in full sunlight, half in shade, and the gaps between the wood were that much darker again. One forgets how well film performs in this regard.
  7. Alan7140


    Personally I didn't see much point of locking my maximum focal length lens onto my camera to record a closeup of the moon itself as that is what everybody seems to do as a default eclipse shot, and that the Internet was bound to be bombarded with images of reddish moons on a black background as a result. There are observatories with telescope cameras specifically built for the purpose which will out-do anyone with a standard camera anyway, so my original intent was to show snow-capped Mt Field at the bottom of frame as the first light of dawn lifted it from the shadows, with the eclipsed moon and Mars at its brightest in the starry sky above (hence my trek to that west-facing paddock in the pre-dawn darkness of a rapidly disappearing moon). The cloud killed that intent, though - Mt Field is in the shadow but cannot be seen unfortunately, but I was indeed fortunate in the way that the cloud spread and amplified the colour of both objects in the heavily overcast sky. Not that it means anything, but the result obviously appealed as this is now the most "liked," commented on and shared photo (and by a good margin) that I have yet posted on FB. I still would have preferred the originally intended photo would have happened, though.
  8. Alan7140

    Old Tasmania

    Early 19th Century convict-built freestone wall ruin and native Eucalyptus tenuiramis (silver peppermint) tree in Bothwell, Central Highlands, Tasmania. Kiev-60, Zodiak 3,5/30mm fisheye, T-Max 100, Rodinal.
  9. Alan7140

    Nikon Had No Choice

    As I said - "for studio work". The GFX and H1D are hands down a better choice than the DSLR FX D5 in that arena, particularly the GFX with its optional articulating electronic viewfinder. Speed is usually not a consideration in studio work - even fashion shoots with live models are limited by the recycling rate of the flash units as far as shooting speed goes. During my years in an advertising photography studio we had motor-driven Pentax 35mm cameras for speedy location work, but in the studio 135format was never used - it was always medium and large format (Hasselblad, Pentax 6x7 and Cambo gear). Not much has changed in the demands of that sort of shooting these days, either. Digital made the use of larger formats limited to those whose turnover could afford a camera that cost as much as a luxury car or even a house, which is what caused the 135 DSLR gain a foothold in an area that was never considered its domain in film days. The small-medium format mirrorless cameras such as the X1D and GFX are helping to address that shortcoming at a similar cost to the top-end 135 DSLR cameras, and hopefully a further step will be taken with a full-medium format mirrorless camera appearing at an affordable price in the not too distant future. At $40K+ the Hasselblad H6D-100c is still an unaffordable stretch for most studios to contemplate, as is the top end Phase One.
  10. Alan7140


    Up at 4:45 a.m. walking up the road to a paddock with a clear view to the west as the moon slowly got eaten away by the Earth's shadow, set up and ready to shoot by 5:30 just as totality was due and the clouds moved in as if on cue.... Whilst Mars continued to taunt me all the while like a petulant child poking out its tongue, I spent the next 50 minutes staring at little else but blackness where the moon should be as the cold gradually seeped through two pairs of socks and three layers of clothing until 6:20 a.m. when I caught sight of the faintest bit of red blurred by the clouds. I shot off a few exposures, still barely able to see the moon other than a faint reddish smudge, but the X-T2 had no such problem, revealing a truly bloody eclipsed moon with colour smudged beyond its outline by the heavy cloud. Exposure was 10 sec @ f/2.8, 3200 ISO, 50-140/2.8 lens @ 66mm and no, I didn't boost the colour - it's pretty much exactly as the camera presented it, although I did desaturate the blues and cyans slightly. Although the result wasn't what I expected or envisaged beforehand, I have to say that I like it well enough even if only for the fact that I've never seen a lunar eclipse photo quite like it.
  11. Alan7140

    Nikon Had No Choice

    It could also be that Nikon have realised that there is a significant trade in adapters which allow the use of Nikon F lenses with both Hasselblad's X1D and Fuji's GFX camera. As the GFX and D5 are virtually the same price, and with the Fuji offering a larger "small medium format" sensor (even if some of those Nikkors can't cover the whole sensor and have to be used in 135 crop mode), there's no getting away from the fact that the GFX is effectively a multiple format camera that can make use of Nikkor FX lenses for the same price as a D5. For pro studio work the GFX already makes a lot more sense than a D5 given that extra flexibility, which has probably reduced the market for Nikon's flagship already. Choosing FX sensor size (as announced) instead of small-medium format with crop mode for FX may well be the most questionable decision for this new camera, in that case. I had to laugh at this line, though: "Nikon will continue to lead imaging innovation with the launch of the new mirrorless camera". They are so many years behind in this technology by now that one can only wish them good luck in playing catch-up before they can claim to be "leading innovators" again. With both the Hasselblad H1D and Fuji GFX already well established, labelling oneself as "leading" imaging innovation just smacks of hubris, particularly if the sensor really is going to be just an FX sensor taking on the Fuji and Hasselblad 50MP 43.8mm x 32.9mm offering, and a new lens line only good for 135 format coverage.
  12. Alan7140

    Lean On Automation, Rely On Manual

    I got it sorted.... ALL manual, ALL the way....
  13. Alan7140

    Boot Hill

    Hartblei and ARAX (both in Ukraine) market them online. I use the P6-M42 and then a further M42-Sigma SA/SD ring, but direct adapter rings to the more major brands are available. The P6-fit adapters are available as Tilt or Shift only and Tilt/Shift together depending on your needs. From experience keep clear of the Chinese versions like Kipon - they fit Soviet P6 lenses but the East P6 German Zeiss lenses probably won't mount on them properly. ARAX Adapters Hartblei Adapters
  14. Alan7140

    Boot Hill

    Just adding - Personally I prefer the monochrome version:
  15. Alan7140

    Boot Hill

    Not really Boot Hill, but a shot (well, 13 shots, actually) taken this overcast, windy afternoon at Richmond's St Luke's cemetery in Tasmania (that's the church in the background, actually 425 metres away across a river and on another hill). Taken with a Jupiter 36B 3,5/250 attached via shift adapter to a Sigma sd Quattro-H and shot using the lens' proper image circle by taking a shot at each of the 12 click stops of the shift adapter's rotation at full 11mm shift, with one more shot in the middle to tie it all together it. Cropping to an oval it results in the image being 11,340px wide by 9,511 px high so at 107.85MP the Foveon Quattro sensor stitch it is a bit higher and slightly narrower than the $40,000 Hasselblad H6D-100c's 11,600 x 8,700px Bayer sensor (although the end result has to be cropped as an oval, which doesn't exactly hurt this image, I think). Ergo, a true medium format result from $1500 camera, adapter & lens combination. There's simply nothing like that 3-D separation (or "pop" as the Internet insists on calling it) that medium format can give yet still hold a reasonably deep field of sharp focus (this was shot at f/5.6).

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