jmichaelc

<p>If you meant the LX100, well, nothing. It's great all by itself. Why? You will actually see a lot of folks looking to extend the range of this lens and, just by chance , i had this system and it worked perfectly with the LX100. </p>

<p>Ok, so this isn't necessarily a full Leica post but we are featuring a F1.7-2.8 Leica lens on a FX100 system, complete with adapter, 16mm .66X and a 150mm 2X. What do you think, do we have some sexy going on here : http://www.photo.net/photodb/folder?folder_id=1078669 ?</p>

<p>LX100 comes with an integrated F1.7-2.8 Leica lens. You can also attached a .66X angle lens (16mm) and a 2X tele converter (150mm). I love this system and the quality is just fantastic. Can't get much more compact while still retaining the lens quality, sensor size, and full manual controls. Link: http://www.photo.net/photodb/folder?folder_id=1078669</p>

<p>Photo 3<img src="/photodb/folder?folder_id=1078669" alt="" /></p><div></div>

<p>Photo 2<img src="/photodb/folder?folder_id=1078669" alt="" /></p><div></div>

<p><img src="/photodb/folder?folder_id=1078669" alt="" /></p><div></div>

<p>You can mount adapters. The bayonet slots are tight but works like a charm once lined up.<img src="/photodb/folder?folder_id=1078669" alt="" /></p>

<p>Nice images. Being a prime guy, i start out with a 50mm F1.4 and begin by trying to grab the crowds faces, with mid bokeh, within my composition of the couple - as all eyes are on the couple at this moment. Then about mid way thorugh, i'll grab my 100mm F2 wide open and begin isolating the couple's stares and embraces. I'll finish with my 20mm F1.8 as you never know how the end will present itself with possibly a dip/kiss are etc. I try to go 100% natural light if possible but will bounce my speedlight if the light is less than desireable.</p>

<p>Photo of my Racer...</p><div></div>

<p>I am trying to repair my Petri Racer F1.8. Everything works perfectly with the exception of the film advance gear. The film advance mechanizm clicks and rotates when spun manually, but it does not advance when cocking. Everything elese is in top shape except for this. Does anyone have any advise as to what to look for? I've cleaned eveything and nothing appears to be caked up or anything. Thanks!</p>

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<p>20mm F1.8 and 50mm F1.4, however if i had just one, i'd like to take a 20-200 F1.4 Zoom :)</p>

<p>100MM F2 @ F2</p><div></div>

<p>I use the 200F2.8 Mark II prime often and it's an excellent choice to add to your collection. Much easier to hand hold when shooting long, lighter, and one of canon's best glass. As an alternative to the 135 F2, i would also highly recommend the consumer grade 100MM F2.0. This lens focus's extremely fast, very sharp wide open and is one of my most used lense on a 1.6 crop body. It can be had for almost 1/3rd of the cost of the 135 F2.</p><div></div>

<p>Handheld 50mm @ F1.4 ISO 3200, shutter 1/8</p><div></div>

<p>For me, it's:<br>

A pure photojournalistic shot that captures the atmospheric drama and the unaware emotional aspect of a scene. A shot captured by a photojournalist who doesn't alter the scene in any way or interjects themselves by any means other than position and/or focal length.</p>

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<p>I woldn't do anything really except change to black and white, repair some of those blown highlights and add a litte contrast.</p><div></div>

<p>If you like these images, then I believe the key lies in:<br>

1) A ton of shadow lifting (shadow/highlight tool)<br>

2) Boosting contrast after shadow pull<br>

3) Messy saturation<br>

4) Shooting shallow DOF<br>

That's about it really. Some nice simple compositions but nothing really advanced at all on the processing side of things.<br>

A lot of processors could achieve this look and do so on a selective basis, but most wouldn't want to do it this much. Personally i don't like anything here in terms of processing but do like some of the compositions.</p>

<p>"Whatever body you buy these days has a short life before becoming obsolete"</p>

<p>Dick,<br>

Unfortunatlly, this is true...... shhhhh. I say "unfortunate" because the truth is that it doesn't have to be, but i do know what your saying. For those willing to focus on creating pictures with skilled hands/minds and blocking out the media/marketing scam, they have some increadiable deals just waiting to be had. I purchased 3 new cameras when i began my wedding photography buisness several years ago .....a Canon 10D and two Mark IIN's. I have used all three cameras at almost every wedding, using the 10D as a supplimential camera with a perminately mounted 100 F2. I have begun to use my 10D more and more these days and am enjoying photography more than ever - and i really belive it's because i realized a few years ago that the camera marketing hype is about 90% BS. The more you shut the sites down, close the magizines and learn your controls, light,and comps, the more you realize this.<br>

For sports, no doubt you need speed. For weddings, and aside from the initial D30 and D60 models, almost every XXD to 1DXX series is MORE than sufficient. Not a Nikon guy so can't say about their earlier models but i'd have to assume the same for them.<br>

Mike - you hit on the key element and one of the biggest markting stunts pulled by the camera manufactures, playing on our fears. You asked "is it work the $2500 extra for the dual slots". In reality, no. But since the camera engineers/marketing folks carefully created this catch 22, leaving us without an option, then my answer is yes.....unfortunately so. That's why i only use my 10D as a supplimental camera, hardly ever using it for the important stuff. I'd love to use it more though - here is the 10D in a little action just this past weekend, mostly at 1600.:</p>

<p><a href="http://www.photo.net/photodb/folder?folder_id=891081">http://www.photo.net/photodb/folder?folder_id=891081</a></p>

 

<p>I loved how you described the way you feel about primes William:<br>

love these lenses. I have rediscovered photography, in a way, by going back to primes. Results are terrific, or perhaps I should say, my photography has improved as a result. It took me a while to "get" primes. It's NOT that the image quality is markedly better at the given focal length. And it's not necessarily that the primes are faster, although several of mine ARE faster than f/2.8. For me, it's more a matter of, well, discipline, like writing poetry that rhymes and scans instead of free verse. If I know that I'm stuck with a focal length of 28mm, well, it limits my options in a way that I frankly find rather liberating. Yes, it slows me down, but that has been entirely a good thing.<br>

I feel the sampe way and completely understand what your saying - limiting those options allows you to understand what you have and, like you said, liberates you with the ability to use it appropriatly.</p>

<p>I know that there are many views here, so i'll share mine.<br>

I've had this happen before and i've spent a lot of time personally thinking this over. I've heard many respond by saying that you should respect the religious aspects and venue rules and that "IF' you want to continue shooting there, then you must obey. My thought is this - "If you proceed by not shooting any photos there, why would you ever have a need to attend again at this venue?"<br>

Respect can be defined on many levels, me personally i always shoot from the rear at ceremonies and i never use flash, so i'm automatically excluded from some levels of intrusion. So, i see respect as a two way street. A minister telling me the day of that i can't shoot any photos without first having the opportunity to explain the way in which i operate, or without any consideration for what the B&G wants, is IMO disrespectful. He has a job to do and I have a job to do. Ultimately, above anything else, I respect the wishes of my client and i will always and have always executed those wishes within a professional framework. Which means that you have to find ways to be creative as some have mentioned above. If this upsets the parties or venues invloved then so be it, my clients have thanked me in the past for my workarounds and that's the approval i'm after.</p>

<p>Mark,<br>

I have very much enjoyed your contribution here. Just out of courosity (I haven't kept up with new equipment the past couple of years), does the sony system accept canon and third party lenses ie..tamron and sigma?</p>

<p>The Prime View. 800 1/200 F2.8</p><div></div>

<p>IMO<br>

I shot 31 weddings in one year two years ago shooting JPEG only. Previously i shot RAW. I never really had any exposure issues; within the tolerances that a professional should be able to shoot in, both formats should be fine in terms of exposure, regardless of the light available or conditions. My findings at the time were, and continue to be, JPEG produces better color even when White Balanced and corrected in ACR in outdoor or indoor consistant lighting. However, when shooting in natural heavy mixed lighting, or when bouncing off colored walls/celings, white balancing in post became a huge issue for me....regardless of how well or accurate my exposures were. It's simply hard to beat the WB capabilities of a RAW file. Therefore i switched back to RAW. I do a little bit of extra work to get the best of both worlds now. When i dump my RAW files, i quickly open all of them up at once in ACR and do a WB auto adjustment on them then I batch convert them all to JPEG. I then open all the JPEGS up and do another auto WB in ACR and begin fine tuning the adjustments. Maybe it's just me but when i do this procedure, i see the color casts almost completely disappear and am left with minimal adjustments and natural well balanced color. Like others have said, it's hard to argue against RAW being a cheap insurence in the event something unpredictable does happen. JPEG is a great format and has it's purposes; i still switch to JPEG when i want to maximize my buffer burst mode for sequences ie..exiting etc..</p>

I've given them out to other associate photographers that have asked me to shoot either their wedding or their children's wedding. Never have I given them out to a typical client.