asher

<p>To answer your original question regarding shutter speed and ISO, I suggest the following:</p>

<ul>

<li>Use manual exposure: set shutter speed to 1/1000 or 1/1250, and set your lens aperture wide open</li>

<li>Set ISO to Auto</li>

<li>Set your meter to "partial" metering mode</li>

</ul>

<p>This will improve the likelihood that you will freeze the action with the lowest ISO necessary, thus minimizing image noise.<br>

Also, please pay attention to white balance, as lighting type in gyms is variable. Using custom WB is actually very easy and effective:</p>

<ol>

<li>Take a properly exposed photo of a white sheet (or something white) in the gym light AT 1/30th or slower (some gym/arena lights cycle at 50-60/sec)</li>

<li>Go to Menu --> Custom WB → select the photo just taken → Set</li>

<li>Set your WB to "Custom" (remember to set it back to AWB after you're done shooting the event)</li>

<li>Take another photo of the white object to check.</li>

</ol>

<p>Shooting hockey I've noticed that the back button focus results in more missed shots, probably because my thumb knocks my cheek and eye slightly away from the VF and I don't place the focus point accurately on the subject.<br>

Using the 'one-up' center point (the AF point one above the center point, to preferentially focus on faces) with the "AF expansion" cross-hair pattern (Canon) works well as long as:</p>

<ol>

<li>I keep the point on the player of interest, and</li>

<li>I zoom out a touch as needed to make sure I get the entire scene as visualized.</li>

</ol>

<p>As far as other settings, I'm still experimenting with AI servo (Canon 7D). It seems to work well, as long as I do as above with the focus point.</p>

<p>I shoot with an M8.2 and 35mm Summarit. While I don't own either an M9 or a 50mm, I shot with the 50mm on an M6 for quite a while. I would say the experience and results are very, very similar in terms of framing, angle of view, subject magnification/relative size for a given perspective, bokeh etc.<br>

<br />Any mathematical differences are not significant in practice. In other words, if you examine the numbers on paper, then there is a slight difference, but if you just want to make some photos, there's no tangible difference.</p>

<p>A month late, but here's my 2 cents:</p>

<blockquote>

<p>How do you shoot good street photos with color?</p>

</blockquote>

<p>Pay attention to framing, light, background, timing, and separation of elements, ie same as you shoot a good street photo in B&W, and let the color take care of itself.<br>

Also critical is self-editing. Too many of us upload every single photo fart that emanates from the camera. Be REALLY self-critical when editing.</p>

 

<blockquote>

<p>Can you recommend photographers work who do?</p>

</blockquote>

<p>David Alan Harvey, particularly his work in Cuba<br /> Alex Webb, particularly his work in Haiti, Mexico, and Istanbul.</p>

<p>A good, short read:<br>

http://nickturpin.com/street-photography-feel-the-force/</p>

<p> </p>

<p>^^^<br /> <strong>Both</strong></p>

<p>However, I was of course referring to photo editing, as the thread is about street photography tips, not writing tips.</p>

<p> </p>

<p>The single most important skill that the majority of street photographers lack: <br>

<strong>editing</strong></p>

<p> </p>

<p>"How to Shoot Video That Doesn't Suck", by Steve Stockman<br>

I highly recommend reading this short book ("Like two years of film school in 248 pages").<br>

I enjoyed it so much that I am reading it again. A lot of it is also applicable to still photography.<br>

Video preview by the author:

<p>http://www.amazon.com/Shoot-Video-That-Doesnt-Suck/dp/0761163239</p>

 

<p>Thanks Christopher, but she's the most gentle, docile, submissive dog I've ever met. She rolls over on her back to greet me when I come home from work.</p>

<p>She's a great therapy dog. In this shot she's waiting to visit a friend of ours who just had surgery.</p>

<p>Just reading the title, I thought this was about something else...<br /> Here's my travel companion.<br /> (Leica content: M8 + 28mm Elmarit Asph).</p>

<p>Emir, BTW, I really like your Zanzibar set on flickr.</p><div></div>

<p>IMO, "get my subject to, basically, do as I say" is not what street/documentary photography is about. Perhaps fashion/studio, but even there your role is not to unilaterally boss around your subjects. It's always a dialogue of some sort.</p>

<p>It's been a while since I've posted or even visited here, but I thought I would share a recent wonderful workshop experience I had with Costa Manos (lifetime Leica photographer, and awarded the Leica Medal of Excellence in 2003, hence the Leica content). The workshop was entitled "<em>Making the ordinary extraordinary</em>".<br /> <br /> The workshop was a weekend event at the Center for Photography at Woodstock. Nice group of people (participants and staff), most/all were easy going and interested in learning. Beautiful weather for our afternoon of shooting out around town with Costa.</p>

<p>Costa shared many memorable thoughts, quotes, and philosophies, e.g. don't get "suckered by the exotic", the most important part of the frame is ALL OF IT, avoid tunnel vision... Also, whenever he saw a photo that was rather ordinary (i.e. if someone else came along after, they could make the same photo), he would say, "yeah, that's what it looks like" (momentary silence). <br /><br /> We did talk gear a bit, and when he saw that I was using an M8 he was very emphatic that it is an unfairly maligned camera, and he promptly pointed out several photographs in American Color 2 for which he used an M8. Not surprisingly, I could not distinguish which photos were made with film M's vs. M8/M9, let alone M8 vs. M9.</p>

<p>All in all a delightful weekend. I'm glad I got to meet him and learn from him. I think this might have been one of his last workshops, but hopefully not. If he offers it again next year, I highly recommend attending.</p>

<p>I purchased 2 of his books which he signed: A Greek Portfolio, and American Color 2.</p>

<p>Below is a photo taken by one of the workshop staff (Alex). Costa is in the middle (standing on the street, he's not that short...), I am on the left, and another workshop staffer named Schuyler is on the right.</p><div></div>

<p>Look at the photo, straight out of the camera.</p>

<p>If it "works", keep it.</p>

<p>If it doesn't "work", move on.</p>

<p>Learn what works and what doesn't by studying photographs that you really like.</p>

<p>I don't have an Eye Fi Pro X, but since nobody else has answered, I will address the X100 part of your question:</p>

<p>If you plan on shooting in raw AND you like to chimp your photos immediately after shooting them, then a faster card might help (then again it might not). Otherwise, you don't really need a superfast card. I think my card is a Lexar 60x SDHC in the X100, and the buffer is big enough so that I can keep shooting several more frames while it writes. However I do little if any chimping.</p>

<p>As far as the wireless upload from the Eye Fi card, that is another issue entirely that I can't address.</p>

<p>Quick follow-up: Resolved in my favor after unequivocal evidence showing that I sent him exactly what he shipped to me. Never received an apology from him for the repeated false accusations and name-calling, but I'm happy with the full refund.</p>

<p>Thanks for your collective input.</p>

<p>Thanks Ray and Christopher.</p>

<p>Given that I will be using an IR filter on a non-encoded 35mm summicron:</p>

<ol>

<li>Is there any point to setting the "Lens Detection" if my lens is not encoded?</li>

<li>If the answer to 1. is "yes", what setting is most effective?</li>

<li>What benefit does the "Lens Detection" setting confer?</li>

</ol>

<p>Thanks<br>

<br />Asher</p>

<p> </p>

<p>Thanks Alex, Rob, Ray and Philip.</p>

<p>I will be using an older version 35mm summicron (Canadian-made). I will do some experimenting with an IR filter before adding 6-bit encoding as per <a href="http://whimster-photography.com/leica_m_lens_codes/index.html">Leica M Lens Codes DIY</a> .</p>

 

<ol>

<li>Does the lens detection setting have any bearing if the lens is not 6-bit encoded? I suspect not since there would be no communication between the lens and camera...</li>

<li>Assuming I do encode my lens properly and use an IR filter, should I set "Lens Detection" to "On + UV/IR"?</li>

<li>Does the setting have any effect with an encoded lens without an IR filter?</li>

</ol>

<p>I really appreciate your help. I will of course be doing some experimentation on my own but not necessarily in the "perfect storm" conditions that would bring out this issue. Looking forward to shooting with Leica again after several years hiatus...</p>

<p>Thank<br>

<br />Asher</p>

<p>Hi all,</p>

<p>I will be shooting with an M8 for the first time, in the near future. When the M8 first came out several years ago, I read about the IR issue, the magenta discoloration, and the use of IR filters.</p>

<p>I don't know what the firmware status is of the camera I will be shooting with, but I'd like to know whether using the IR filter resolves the problem, and if so, what setting should I use for the "Lens Detection" setting. Is it "On + UV/IR" (my lens is not 6-bit encoded, if that matters)? Is the CaptureOne software an integral part of the solution as well?</p>

<p>Also, is the white balance best adjusted manually? I will be shooting raw DNG only.</p>

<p>Thanks in advance.</p>

<p><a href="http://thebestcamera.com/">The best camera</a></p>

<p>Thanks Leigh- I didn't realize that. If there are multiple inserts with 939 there must be multiple casings ending in 939, correct? The seller claims that I switched the external casing, not the insert.</p>

<p>If that is how those numbers work, then never mind. Thanks all for your help anyway...</p>

<p>Thanks Brian- good advice.</p>

<p>I have already ceased communicating directly with the seller. My goal now is to build a case for the moderator with evidence that should reduce or eliminate reasonable doubt about my innocence. I have a 13-year, 100% feedback history on over 130 transactions on eBay, so I think that will help my case as well. But the more evidence I have, the better my chances.</p>

<p> I have to add that I would probably be in a more tenuous position had I not used PayPal... I won't regret those PayPal fees again, especially if this all works out as it should.</p>

<p>That would be proof that I did not switch the back, wouldn't it?</p>

<p>Hi all,</p>

<p>I am in the middle of an eBay dispute in which the seller claimed that an A12 back had a matching insert. When I received it, it did not match. I did not mind because I just wanted to use it. However the gear also turned out to have functional issues. I informed the seller of the functional issues, also mentioned that the back did not match the insert, and the seller agreed to give me a full refund after I returned all the gear to him.</p>

<p>Once he received the gear he accused me of switching the back casing for one that doesn't match the insert. He is unwilling to consider the possibility that he made a mistake, or that he may have switched the insert/casing with that of an A24 black back he currently has listed for sale, and has repeated refused to provide me with photos of the numbers from all of the backs and inserts in his possession. I have offered to testify under oath that I did not switch the back. We've had lots of communication about this, and I have since filed a case with the eBay resolution center.</p>

<p>In the interim, I would really appreciate it if anyone reading this who has an A12 casing could check to see whether the last 3 digits are 939? </p>

<p>Thanks,<br /><br />Asher </p>

<p> </p>

<p>Welcome!</p>

<p>WRT cleaning, be careful that you don't damage anything just to get rid of an inconsequential dust spec in the viewfinder/prism/mirror. If it doesn't affect image quality or functionality of the camera, leave it alone.</p>

<p>I've never heard of shooting an entire roll with the lens cap on. I have shot a test roll in various lighting conditions & directions to check for leaks.</p>

<p>Ultimately the best thing you can do is take your time and practice, practice, practice, with one and only 1 type of film, one lens, and keeping notes on exposures, lighting conditions etc. Minimize the number of variables and your learning curve will be much stronger. Have fun.</p>

<p> </p>

<p>FYI, Annie Leibovitz and Michael Grecco also shoot digital (AL- Canon, Grecco- Hasselblad digital), so they may not have used film for the images you are referring to.</p>