nedevermac.com

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It's the excess that's fun. Normally I'm pretty careful with wide angles to avoid the keystone effect but the 15 heliar invites you to just do things wrong.<div></div>

I shoot about half a dozen rolls of this stuff a week and develop it in Rodinal. It doesn't have quite as much shadow detail as other developers but it has a look to it that I like. After working out a consistent developing technique I'm getting sharp, tight, well-defined grain that's not particularly large. It looks great printed traditionally but I'd steer clear of this combo if you're primarily scanning. My school's Nikon LS-4000 doesn't really like the character of the grain.<div></div>

I'm impressed that you were able to focus with this lens wide open. My experience with the D70 is that I get more depth of field in the viewfinder than I do on the image. As such, I find critical manual focus to be nearly impossible, particularly with wide angle lenses. These are just my experiences and your mileage may vary.

I always considered Leicas to be toys but on the other hand, Holgas are showing up in interesting places. There was David Burnett on the campaign trail in 2000 and in the end of the year issue of Newsweek there were photos by a photographer whose name I can't remember who used a holga in Afganistan.

And you'll need something to put it in.<div></div>

As a 19 year old with a Leica, a DSLR, and a Mac I find this to be a really silly, pointless discussion.

I found a two-ring in good condition for $450. I use it on a D70 and the focus isn't all that fast but for most of my uses it's adequate.

Whatever you do, be sure to go to the downtown library. Even is you don't like books it's worth checking out for the architecture and overall weirdness.<div></div>

I'd stay away from Velvia 50 and Provia for anything with snow, which we can assume you'll be shooting alot of in Antarctica. They both have a tendency for the shadows to turn blue. I'll second the suggestion of Velvia 100f and Astia.

let's try this again<div></div>

I only borrowed the lens for a day but my biggest complaint was the slow, noisey AF. I was using it for fly on the wall documentary photography and it was annoying to have this grinding noise every time I focused. This was only a problem because I couldn't reliably manually focus below f/2.8 due to the very shallow DOF. That said, it's a wonderful lens that's one of the sharpest I've used. This is a 100% crop of the first photo where you can see the pores in his hand.

f/2.8

also at f/2<div></div>

on a d100 at f/2<div></div>

Right now I'm at Ohio University in Athens which has the one of the top 3 photojournalism programs and top 7 journalism programs. That said, they're just arbitrary ratings and there are more important things to take into account. Your surroundings can be as important as the quality of the school. OU is a fairly isolated rural campus that doesn't have too many news events happening. Another useless statistic is that Princeton Review rated OU the #5 party school. Because of the isolation, the focus is pretty heavy on documentary picture stories. The curriculum focuses on how to incorporate new media like flash presentations and audio for photo stories. OU also has several well know alumni. Last year's Pulitzer winner Carolyn Cole of the LA Times all but finished her graduate degree here and just behind her for Pulitzer consideration was Chris Hondros of Getty Images. Sports Illustrated and National Geographic photographer Lynn Johnston decided to get a degree here even though she was already a very prominent and well established photographer. I could go on but I won't.

 

The other two of the "top 3" are Western Kentucky and the previously mentioned Mizzou. They're all fairly rural with Columbia, Missouri probably being the biggest of the 3 towns. Other highly rated programs include Brooks visual journalism program (expensive but they have Time photographer P.F. Bentley teaching there for now), San Jose State and San Francisco State.

 

No matter where you go, your success will depend on how determined you are. With a any program, you only get out as much as you put in.

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It can happen. This is what battery covers are for.

 

http://www.sportsshooter.com/message_display.html?tid=11227

Am I the only one here who notices that most of the examples of good bokeh presented

here are of kids and dogs?

Personally I use the hood from the current 50 elmar on my collapsible cron. The dealer that I bought my Leica from just happened to end up with one and gave it to me free. At first I was worried that it might vigniette wide open but haven't seen any on the chrome that I've shot.

1D/D2H + 300/400 f2.8

 

I looked through a 10D and a 600 at a football game once and it was a bit much. You'd get waist-up in vertical of someone 3/4 of the way across the field. Then my friend decided to see what it would be like with a 1.4x slapped on it.

You also need to go into menu > set up > and switch it from USB to PTP so the computer doesn't recognize the camera as a storage device.

All I've managed to figure out is that it varies from place to place. A freelance photographer was arrested in Florida for breaking a rule that had been enacted a couple days before and not announced to the media. Your best bet is to be careful and check with election officals first.

Halloween is a big deal in Athens, Ohio.<div></div>

The closest thing I've found for RF like shooting with my D70 is custom setting the AE-Lock button to activate the AF. The thought process is very similar of focusing, re-framing, and shooting when the moment strikes rather than when the lens happens to snap into focus. I would still much prefer standard SLR manual focusing but it's very hard to discern precice focus with the D70s tiny viewfinder.