el_fang

September 15, 2008

I might order one just so I can see the cynic's turn blue with popping veins. :-)

Yes, from busting out laughing at you!

September 15, 2008

The U.S. Nocti f/0.95 price already listed a few places is $9,999.

Oh, I'm so sorry, my mistake. Yes, you're right of course, $9,999 is an absolute steal. Where do I sign up to get one?

September 15, 2008

PS: Price is (again from the link) UKP 6290. A bit lower than I expected.

According to <a href="http://www.xe.com/ucc/" target="_blank">XE.com's universal currency converter</a> that would work out to... $11,307.66 USD from today's exchange rate.

W.

T.

F....

Leica's already priced itself out of relevance as far as today's market goes, with the world economy being in the state it's in and what's being offered by the major makers. Let's now watch and applaud as they price themselves completely out of existence.

September 14, 2008

He comes across as a optical scientist, but in truth, I don't believe he is. He is a photogrpher.

I don't think he's a photographer, either. The first thing that popped into my mind after encountering his "analysis and insight" (as he calls it) for the first time was this quote from Shakespeare's Macbeth:

Life's but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.

September 13, 2008

BTW I didn't pull that Leica philosophy BS out of my ass, it came <a

href="http://www.popphoto.com/popularphotographyfeatures/5316/the-future-of-leica.html" target="_blank">straight

from the horse's mouth</a> (Leica CEO Andreas Kaufmann):

PopPhoto: In testing the Leica M8, I found its performance to be outstanding at ISO 320 and very

good at ISO 640, but with noticeable noise at ISO 1250. Many late-model DSLRs from other leading makers now claim

to deliver topnotch performance in the ISO 1600-3200 range. Will Leica do anything to provide enhanced

performance at higher ISOs in a future M model?

Kaufmann: The fundamental concept of the Leica M is delivering the pure image captured by the lens, and

this is not possible if you adopt the philosophy of using extensive software to massage an imperfect image.

Yeah, because colorful speckles and blotches are part of the "pure image captured by the lens," amirite? LOL

September 13, 2008

But we're looking for ideas on how we can help aspiring photojournalists.

The best possible way that you can help aspiring photojournalists is to plaster a giant blinking .gif across

your main page that says "GO BACK TO SCHOOL AND GET A REAL DEGREE" or alternatively "TAKE YOUR PARENTS BACK AND

EXCHANGE THEM FOR A SET THAT COMES WITH A TRUST FUND" because the way things are going now, there

isn't a worse time to get into the field.

September 13, 2008

but it has much more of something else too that I value the most - character.

I think this so-called "character" is actually what makes most images shot with a Noctilux visually annoying.

Any content that was in the picture is overcome by the Noct's intrusion on form. You want a personal style to

come from the way you handle shape, line, value, tone and moment, not from using a particular exotic lens. The

first is

not easily imitable; the second can be imitated by anyone with a decent credit line.

Having said that, there are valid reasons to own a Noctilux:

1. You are not a good enough photographer to handle foregrounds and backgrounds. Cranking a Noct to f/1

effectively obliterates them, so you only have to consider subject.

2. You still shoot film. A Noct will allow you to finish that ISO 100 roll even as the light begins to fade.

3. You shoot an M8. Leica's design philosophy of "let's make stratospherically expensive, exotic optics to

make up for the fact that our sensor is piss-poor at any ISO higher than 640 without extensive post-processing"

almost makes a

Noct mandatory. If you had the wherewithal (lol) to pony up for an M8 despite all its issues then a Noct

shouldn't be too much of a stretch either.

If you wish to be "none of the above," then 1) get a 35 or 50/2 Summicron and learn how use foreground and

background to effectively convey depth; 2) go digital so you can set ISO to whatever a particular situation

demands; or 3) lose the M8 and buy a real camera (even a $500 digital Rebel gives superb ISO 1600 performance

without needing post processing, freeing up time you can spend shooting instead of Photoshopping).

I also recommend studying the work of great street photographers like <a

href="http://www.youtube.com/watch?v=5dipTqJfiE4" target="_blank">Joel Meyerowitz</a>, Jeff Mermelstein (part <a

href="

target="_blank">1a</a>, <a

href="

target="_blank">1b</a>, <a

href="

target="_blank">2</a>), <a

href="

target="_blank">Bruce Gilden</a> and <a

href="

target="_blank">Garry Winogrand</a>. As you can see, good

street photography doesn't have anything to do with an f/1 lens.

September 10, 2008

My son will be 11 in 2 weeks.

11? For the love of all things holy, don't corrupt his young mind with useless technical minutiae like aperture, shutter speed, DOF etc. Just give him a camera, any camera, put it on auto and let him shoot away. Take him to galleries and museums and show him paintings and drawings. Start him on the right path by teaching him how to see. Anyone, even with Down Syndrome, can learn the technical part of photography - that's easy. And with the sophistication of light meters and exposure computers built into cameras these days, the technical is pretty much a non-issue. It's the SEEING part that most people have trouble with, and you should try to encourage him to develop it early.

September 8, 2008

In a similar vein, somebody reads in some technical photography review that smaller sensors are more

"diffraction limited" and this then gets repeated ad nauseam on forums like these as if this law of physics is

somehow a reason not use the Four Thirds system (as Robin says, the interminable "bigger is better" argument).

I never said there was no reason to use the Four Thirds system. Like I said, horses for courses. There are

inherent benefits to using a larger sensor, and other benefits to using a smaller sensor. Dismissing an entire

format based on a silly hypothesis that has little to no bearing on real-world results is borderline moronic, as

is blanket-labeling an entire group of people who do this for a living. Professionals have to use what works, and

the tools they depend on need to be reliable and supported by an effective service network in the event something

goes wrong. They can't afford to twiddle their thumbs while their M8 or whatever takes a 6-month vacation to

Germany. To a professional, absolute optical performance is only one piece of the pie, something you fail to

understand time and time again.

September 8, 2008

Where I live has a huge military population, and I've read of some organizations that will get a photographer to photograph homecomings on bases, a photographer taking photos for the families reuniting.

<a href="http://www.oplove.org/" target="_blank">Operation: Love ReUnited</a> might be the one you're looking for.

September 4, 2008

As I've said before, don't look to the pros to lead the way here. By definition, the most "professional" people in any field are more institutionalized in their thinking and under far more constraints to conform to certain norms in their work by virtue of their professional status.

I'd like to see where you got such an official, all-encompassing "definition" of pros. On the other hand, amateurs have been the main drive behind the point-and-shoot market and look where that's gotten us so far... <a href="http://panasonic.net/pavc/lumix/fx150_fx180/index.html" target="_blank">14.7 megapixels on a sensor the size of my pinky nail</a>, with noise to match, and no end in sight.

September 4, 2008

The term "full frame" is itself simply a legacy of the 35mm system and only has any relevance at all when it is referring to a camera that uses lenses based upon the old 35mm system. All Four Thirds cameras are "full frame" for the Four Thirds system.

If you want to argue semantics then be my guest. So far, nobody's been able to repeal the laws of physics, which dictate that larger sensors, given the same equivalent field of view, will give you more control of depth of field and are less diffraction-limited, among other benefits. The only question is, how big of a camera/lens are you willing to carry? For many people, 35mm has been a carry-around standard for so long, that "full-frame" 35mm digital has been a no-brainer ever since the 5D came out. For others, there are Phase One digital backs, Four Thirds and upcoming "Micro" Four Thirds. Horses for courses.

September 2, 2008

Andrew, I have shot more accidents than I care to go into. I have heard your sentiment before, it is nice, but has nothing to do with reality. The only thing you will do when you try to help at accident is get in the way. If the professionals are there let them do their job. If you get to an accident before rescue workers, the best thing you can do is not move anyone and talk to the victims and keep them calm wait for help.

I have shot my fair share of accidents as well and I disagree to the extent that you should be using your own best judgment and common sense instead of making a blanket statement that anything you do will just get you in the way. I agree that if there is no immediate danger to you or anyone else on the scene, it is best to sit tight and call/wait for help if you can. However, if there is immediate danger present to someone on the scene, and you can remove them from that danger without unnecessarily becoming part of the problem or endangering yourself, then common decency would dictate that you put your camera down and do what you can. In fact, in many places there exists a legal concept called <a href="http://en.wikipedia.org/wiki/Duty_to_rescue" target="_blank">Duty to Rescue</a> that requires you to do exactly this.

I have ran into this issue of going face to face with cops. I have nearly been arrested a couple of times. This is why I always carry an audio recorder. If the a cop is trying to stop me from shooting I interview him, and record or video him. Basically, I am going to give him a simple choice, If the cop is going to stop me from shooting then it will be documented and be on his head. I have local number of police chiefs and PIO, so I will go above their heads. Most cops do not want the Sword of Damocles hanging above their heads.

You are already setting yourself up for conflict if you approach the situation in such a "face to face" or combative manner. You have to understand that the cop in question is having an ego trip - he/she is in charge and in a position of power. Journalists and photojournalists who are good at spot news coverage know this, and therefore know how to stroke that ego to increase their chances of being allowed to do their work without hindrance. Going into a situation like this with the mentality of "it is my constitutional right to do such-and-such" and clashing egos with the badge and gun WILL get you arrested sooner or later.

I work in one of the busiest metro areas in the United States for spot news and yet when I show up to do my work, the police lift the crime scene tape for me when they see me show up - I don't even need to ask. Through experience, I know how to conduct myself and occasionally even lend a hand, and have become a familiar and welcome face at grim situations. There is simply no reason to ever come close to getting arrested if you have a simple understanding of the psychology at work and know how to do some basic PR.<div></div>

September 2, 2008

Alex Webb - his Istanbul work is fantastic

I agree and I have Istanbul along with all his other books. In my opinion, however much it's worth, his best

work is his first book <a

href="http://www.magnumphotos.com/Archive/C.aspx?VP=Mod_ViewBoxInsertion.ViewBoxInsertion_VPage&R=2K7O3RBIHVQD&RP=Mod_ViewBox.ViewBoxThumb_VPage&CT=Album&SP=Album"

target="_blank">Hot Light/Half Made Worlds</a>, which is sadly long out of print and very, very expensive if you

can find a copy in decent shape. And no, my copy is not for sale. :)

September 1, 2008

Sounds like the RF just needs an adjustment, which is a simple and (Leically-speaking) inexpensive repair. Ridiculous and unverified "tales" notwithstanding, consider yourself lucky if an RF adjustment is really all that's needed to fix it.

September 1, 2008

That's what seller feedback is for, and that's what credit card protection is for. You're making a mountain out of a molehill. If you're that desperate for a new A650 IS, your favorite brick-and-mortar stores are all out of stock, and you're purposely writing off the most obvious next place to look, then I don't know what to tell you.

August 31, 2008

The most obvious place to look would be eBay where there are dozens of brand new ones for sale. Any reason why you haven't looked there?

August 31, 2008

Addendum: pardon my spelling error, that should be Gueorgui Pinkhassov.

August 31, 2008

as this is something I would like to pursue

Well, I hope you have a trust fund, a rich significant other, or no plans to ever have children or retire. :)

My favorites:

Alex Webb

Robert Frank

Eugene Richards

Luc Delahaye

More "artistic documentary" or "street" photographers than photojournalists but I still enjoy their work:

William Eggleston

Gueorgui Pinhkassov

Jeff Mermelstein

Saul Leiter

August 26, 2008

if you don't need a lot of power, try the vivitar 2800.

2800 is not a bad flash features- and performance-wise, but the reason I don't like it is its auto-off "feature." If you don't fire it for about 2 minutes it shuts itself off. Good flashes that use common batteries, generic hotshoe mounts and can be bought new today (and don't stupidly turn themselves off) are the Sunpak 383, Vivitar 285HV and Metz 20 C-2. I've used all 3; and my favorite is the Vivitar for its build, power and exposure accuracy although it's also the biggest and heaviest of the bunch.

August 26, 2008

Most shutters with mechanical parts, even if officially "electronic," do benefit from being exercised once in a while, at least according to the instruction manuals for the dSLRs I've owned. But... 2 years in storage?... might as well just sell it and put the cash toward something that will get regular use.

August 25, 2008

(ever actually timed how long it takes to scan a single frame of film?)

To take this a little further:

1. Start your stopwatch.

2. Take a picture onto film using your precious M6.

3. Develop and dry the negative.

4. Scan the negative.

5. Clone and repair (since Digital ICE does not work on B&W negs).

6. Stop your stopwatch, note the time.

7. Start stopwatch again.

8. Take a picture using any digital (D70 is fine)

9. Take memory card out and plug it into your card reader.

10. Upload pictures into your computer.

11. Stop your stopwatch, note the time.

12. Compare result (11) with result (6).

13. Ask self: "How much is my time worth to me?"

August 25, 2008

You'll never own a better film camera than the M6.

Until you need macro, superwide, telephoto, or a generally reliable camera that doesn't crap out with a

rangefinder misalignment, shutter jam or battery short at the worst possible moment. Horses for courses.

And you'll never be able to keep up with the technological Joneses if you buy into the current digital

wonder. I'm going the route you're about to abandon: shooting Leica film cameras then scanning the negatives for

posting.

You'd also have to be stupid enough to buy into the camera manufacturers' marketing schemes. On the other

hand, if you want to look at time and money saved (ever actually timed how long it takes to scan a single frame

of film?) over hundreds and thousands of frames shot, digital comes out ahead for photographers, with the

disparity being especially vast if you're shooting color. Film still beats digital for collectors, though.

Leica film cameras are more durable and more reliable than any digital gizmo that will ever be produced in

our lifetimes.

Now there's a statement that just rings of factual impartiality, right?

And it's nice to have solid, compact equipment that isn't--not withstanding a functioning meter--dependent

upon the fickleness of batteries.

Spare batteries aren't hard to carry, and together with memory cards take up a lot less space than film. I'd

rather not be dependent on the fickleness of temperature- and xray-sensitive materials and the fickleness of

having to wait longer and longer to get less and less consistent results when I get around to sending said

materials to the lab.

Stupidity happens to anyone at any time.

Only thing you've said that makes any sense.

August 24, 2008

^

And this, my friends, is why the general public hates photographers. :)

August 23, 2008

Did the photographer see the crash happen? You would think he might think about helping the person that got in

the accident instead of taking pictures.

It all depends on where you place yourself on the spectrum of:

Photographer <-----------------------------------------------------------> Human Being

I suppose if you or I were the first one on the scene and saw someone trapped in a burning wreck, we'd

probably try to get them out first. If Damon D'Amato or Ray Chavez would rather set up their tripods and take

artistic

time-exposure photographs of some kid in a back seat burning to death, that's their choice based on their own

self-placement elsewhere in that spectrum.

If you as a photographer arrive on an accident or crime scene and there are professional rescue personnel

already there, then

you should be free to take pictures as long as you a) do not endanger yourself or anyone else, b) are not

interfering with a potential crime scene and c) obey commands given to you by authorities in charge of the scene.

Whether or not your "rights" are being violated, your job is to get the pictures, not to get into an argument

with authorities who have more important things to do, like secure a potential crime scene, than get into a

constitutional rights argument with you.

Officer giving you a problem? Agree with him/her, even if you think or know he/she is wrong, pull back behind

the crowd, slap on a 400mm f/2.8 IS (or VR or what-have-you) and take your pictures without further aggravating

anyone. Job done, pictures are published, no arrests or lawsuits necessary. Onto the next assignment.

Sign In

Profiles

Forums

Blogs

Events

Downloads

Gallery

Store

Posts posted by el_fang