paul_ong1

February 5, 2011

Jared, thanks. You confirmed what I suspected, that is, the aperture requires electrical power. Understandable since a mechanical link would be very difficult given the shift and tilt. I have not seen any adapter with electrical connections. Yes, a tough and probably a nearly impossible project. But, not willing to give up just yet.

Dan, unfortunately, neither the aperture ring nor the button steps down the aperture. Tried both initially, but neither work. As Jared mentioned, the "E" denotes electromagnetic. Perhaps I am missing something. If so, can you give me more details.

Tried looking for an electrical diagram for the PC-E, but no luck so far. Does anyone have one, or know which of the connection supplies the power and the voltage.

Thanks.

February 4, 2011

Hi,

I am experimenting with using the 24mm PC-E on a Sony NEX 5 body. (I am mainly a Nikon person, but the NEX has some useful features.) I want to shot at f/5.6 or f/8 with the PC-E, but the aperture appears to be electronically controlled. I know that I can set the f-stop with the manual ring, and there is a button that activates an electrical-mechanical device that close down the aperture for DOF preview. However, the adapter does not have any electrical contacts, so no power is being fed to the lens.

Does anyone know of a way to close it down manually? Or how to feed power to the lens?

Thanks.

January 30, 2011

Thanks for the comments. I have a D3, which is also hard to carry around.

I mount the Schneider with a reverse Nikon lens adapter and a 43mm to 52mm step up ring (bellows > reverse ring > step up ring > lens). I reversed the aperture handle so it face backward. I normally just set the f-stop once and use the handle to close down when shooting. The Schneider Componon-S is consider a very good series, retailing for several hundred dollars new, although many Componon-S seem to be available at very low prices used. Got the 50mm for free and the 80mm for $35.

I have experimented with various alternative setups, and you can see of them at via the link below, although I have not had time to take a photo of the setup using the NEX:

<a rel="nofollow" href="http://www.flickr.com/photos/9476880@N02/sets/72157624320417168/" target="_blank">http://www.flickr.com/photos/9476880@N02/sets/72157624320417168/</a>

While lens quality is important, I have encountered other equally important limiting factors for high magnification macros: camera motion, subject motion, dim focusing images, extremely narrow DOF, and diffraction coming in even when the nominal f-stop is f5.4 or f8 because of the extra extension. Because of these things, I have spent some time trying to create better mounts to minimize shaking and refine focusing, and better lighting systems.

I do like using enlarger lenses because they are small and light, and for high magnification, I like reversing them, which seems to produce sharper images. Yes, manual focusing, but live view makes it very easy. Much better than trying to use my DSLR.

January 30, 2011

Oops, hit the button too soon.

January 30, 2011

Hi,

Overall, I like my NEX 5. The IQ and lenses are not the best, but the NEX has other redeeming values. As some have said, the best camera is the one you use. With the 16mm, the Sony is easy to carry around, which afford me photographic opportunities, particularly in places where I do not like to be noticed. This is true for a series on the subways, which are in the set on the first link. I also like the live view, which is proving to be useful for macro photography, and I just posted some examples that you can access in the second link. Like all equipment, the NEX has its strengths and weakness, and when used within its limits and potentials, it is a nice photographic tool.

http://www.flickr.com/photos/9476880@N02/sets/72157625095970739/

http://www.flickr.com/photos/9476880@N02/sets/72157625808528681/

November 2, 2010

Leslie,

Do appreciate your comments and photos. Your point made me think about why I should care. In the big scheme of things, very little may matter, but we live in the moment with the lives we are given. Within that short time span, I hope that we act with principles that treat others as we wanted to be treated. But, there are no absolute, because there are larger societal goods to be gain by being intrusive, which is the justification for PJ. Where it has been most problematic for me is when the images are potentially controversial or degrading. This is certainly the case for the photos on the crash and clash on Brooklyn Bridge. There, I feel uneasy to use photos with identifiable individuals. While I am not a professional photographer, I do use photography in my work and teach its use to my students. The previous work has been straightforward documentation of places and things, but moving into street-type photography is different. Having guidelines is useful to me, and getting feedback from you and others help me develop the guidelines, which is likely to evolve. Thanks.

October 31, 2010

Javier, love your web site. I am bookmarking it. Thanks.

Tom, great point about how photography can help enlighten people, humanize what would otherwise be sterile policy talk. I do appreciate photos and photo essays that address critical societal issues.

James, yes there is a dilemma for me. The tradeoff I think about is the tension between being intrusive and producing images that tells useful stories. Tom's example about the immigrant family is a good example where the balance is in favor of taking the photo.

Everyone, I am still interested in the process of selecting photos after the shots are taken. I am still struggling with an evolving set of principles about what to use and what not to use. Thanks.

October 30, 2010

Mark and Brad,

Thanks. Just what I want to hear, your perspectives. I am trying to work through the ethical and other aspects of street photography. It is different from PJ, but also overlaps.

I am not a big fan of shot-and-run of the homeless and other disadvantaged people. I do, however, appreciate it when a photographer tells a meaningful story about people they got to know, even if briefly. This means talking and listening to them, and trying to integrate their story in visual form, although it often take words in addition to the photographs. This is something I have seen for a select few photographers, and it is something I would eventually want to do.

October 30, 2010

Mark,

Thanks for your quick feedback. I am actually in my office trying to catch up on work, but also checking my emails.

You have a very good point about the fight pictures. I guess I am not getting my point across effectively. The photo essay is about human tragedy. The fight was unfortunate, and due I believe to misunderstanding, miscommunication and pre-existing inter-group tensions. It was sad for me. I tried to say that in the lead panel with the text, but I guess I failed. Would appreciate any suggestions of how I better communicate this point.

I should note that I was a photojournalist briefly in my younger days, so I went into automatic mode when I witness the event. Fortunately, others called for help. And, the two groups were trying to pull those fighting apart.

October 30, 2010

Mark, Tom and Javier,

Thanks for your comments. When I say that I don't use some, I mean that I don't share them with others. As mentioned, the faces in some of the original clash photos are very clear. There is one in particular that I would have used for "tragedy" but one of the persons is clearly identifiable.

I do realize that ultimately it is up to me decide on a personal set of principles and guidelines, that plus how timid or bold I am in taking photos. However, what I would like to hear is how others think about this, particularly the selection process. There is nothing absolute about my currently criteria. I am new, and I want to learn from others. What I have found in the past is that the discussions and posts bring up points that I have not considered, and should consider.

I am very interested in those with more nuance positions rather than the extremes of "don't invade privacy" or "I have a right in a public space."

(Mark, do appreciate your humor.)

October 30, 2010

Hi,

I am new to street photography, and I have read with interest some of the posts regarding individual privacy. I have mixed feeling. I think some photos can be very intrusive but I also value the ability to capture a slice of life. So, I have started learning by doing. When taking photos, I tend to be timid, so I don't always take photos of potentially interesting moments.

I separate issues of taking of photos from selecting and using. After much thoughts, I have decided for now I will avoid using photos that reveal a person face when the images are controversial. For non-controversial images, I do not use photos where an individual is both identifiable and the focus. If they are a part of a group or not the focus to the idea, then I use the photo.

Clearly, this approach means that I do not use many photos that I had taken. Below are two series, and I have struggled to strike the right balance according to my own guidelines. For example, there are others in the clash series that I did not use, and the same for the subway series. Some left on the hard drive are ones I like.

Do others have rules about what to use and what not to use? If so, what are your guidelines and experiences?

Thank you.

http://www.flickr.com/photos/9476880@N02/sets/72157625125964066/

http://www.flickr.com/photos/9476880@N02/sets/72157625095970739/

September 15, 2010

Again, thank you to everyone for the recommendations and advice. While work and other obligations take up most of my time, I do try to go out with my camera. Finally got around to posting some of my initial photos, and if intereted, you can see at

<a rel="nofollow" href="http://www.flickr.com/photos/9476880@N02/sets/72157624947244598/" target="_blank">http://www.flickr.com/photos/9476880@N02/sets/72157624947244598/</a>

<a rel="nofollow" href="http://www.flickr.com/photos/9476880@N02/sets/72157624724178722/" target="_blank">http://www.flickr.com/photos/9476880@N02/sets/72157624724178722/</a>

September 4, 2010

Quick update. I have been able to hit some of the spots others suggested. Saw the Empire State Building, which is actually a couple of blocks from where I work. Also walked to Time Squares and walked on the path next to the FDR.

Went to ICP. What wonderful photos on display, and the main exhibit is entitled For All the World to See: Visual Culture and the Struggle for Civil Rights. The photos remind me that it is the image that counts the most. Many of the photos are B&W, grainy and lack detailed sharpness, but nonetheless powerful images.

I carry my camera with me most of the time and trying to be selective and thoughtful about the shots. I don't have access to a computer with my usual software and only occasional access to the internet, so I cannot post images yet. But hopefully in a few weeks.

Again, thanks for the suggestions.

Dan, thanks for the warning. I do plan to go out to Queens next week, and it is good to know what to see and possibly avoid.

Robert, do plan to hit the museums when my wife and son come out for a short visit. We also love the greater Lower East Side with its rich history and diverse contemporary urban neighborhoods. I have heard much about the Russian neighborhood, mostly in movies and TV, but will be on my list.

Michael, yes Italian food is fabulous, like the people. Full of life. Thanks for the link.

Rob, will have to find some time to make my way over to the mid/lower West Side. Have been mainly stuck on the East Side and eastern half of Mid-Town. High Line is certainly an interesting urban walk way. Some say a little less interesting now that the Strand Hotel has curtains.

August 30, 2010

Thanks to everyone for the advice. I still have a few more days before I can settle in, but it has been exciting. NYC is such a diverse and vibrant city. So much to see, so many photographic opportunity.

Dan, great suggestion. I was around that area (6th and 42nd) today but had other obligations. Will be on my list of things to do.

Dave, did B&H. What a heavenly place for photographic equipment. I already saw a couple of things I want to buy, but reasoning finally set in. Oh well, but it is a fantastic place, the largest photo store I have ever seen.

Kevin, between meetings, I walked up Broadway to Time Square. It is now such a different place than the first time I visited. Much safer, but also much more oriented to tourists (like me). But great place to people watch. Wide angle lens, check.

JDM, thanks for the book suggestion. I will try to find the NYC edition. Fortunately, my wife knows NYC because she was born and raised here. I also have a number of colleagues who are willing to show me around.

Robert, yes the museums, both because of their great content and photo opportunities. I don't have a particular style, and I am at a stage of experimenting with different approaches as a learning experience. I have done live performances, environment, panos, extreme macros, aerial, etc. Worked with 35mm, medium and large format. This diversity is reflected in my flickr site and you are welcome to take a look, perhaps give me some suggestion. I am opened to experimenting.

http://www.flickr.com/photos/9476880@N02/

David, I soon hope to get to know the transit system so I can get around. I will be working in Mid-town, so many of the locations are reachable by subway.

Ted, thanks for the information on time of day. I will try to vary my outings to I can see the city in different lights. I am trying to travel very light, so I am using the Sony NEX without tripod, flash or other accessories. I am still learning to use it.

August 28, 2010

Hi,

I have a four-month job assignment in New York City, and while most of the time will be taken up with work, I hope to find some time for photography. I have visited as a tourist but this stay will give me time to get a better feel of daily life in the Big Apple. I will be living on Manhattan Island.

Can I get some advice and suggestions from members who are from that part of the world. What are things that I should try to experience and capture through the lens? Are there photographic clubs that I should try to join? Also, are there specialized museums I should visit?

Thanks.

August 16, 2010

First, my apologies to everyone about the title. Should be "COVERAGE", serious typo, but had to run off to dinner, so did not check my spelling. My bad.

Thanks everyone for the quick responses. Here are some more details on what I attempted to do, and maybe someone can spot a mistake.

Both the Mamiya lens and the DSLR are aligned so the sensor is dead center on the image circle when the front and back standards are aligned (this is done by using centered holes on the lens boards used to mount the camera and lens). For today's test, I only wanted horizontal movements (shifts) for the panorama, so I bottomed out the front and back standards to minimize any possible misalignment. This meant that I was moving along the center horizontal axis of the lens circle. The DSLR was mounted for vertical photos (long side up&down), so the height of the images were only 24mm, so well within the RB's 57mm standard height.

I calculated the distances for seven overlapping frames (one in the center and three on each side), with the goal of 8-9cm across. However, when I was at the extreme left and extreme right, a part of the frame was dark (visible vignetting). My f-stop was f/8. Because of that, I reduced the number of frames to five (one in the center and two on each side). That was sufficient to cover about 71-72mm across.

I hope my description is understandable. I am either doing something wrong, or the Mamiya 90mm C does not cover 6x9 format. I wonder if anyone has tried using that lens for 6x9, and if so, any problem with vignetting?

August 15, 2010

Hi,

I am using a Mamiya 90mm C lens on a hybrid system (Nikon D70 to capture images, Toyo 45G for technical movement, and Mamiya lenses). I just did the first test of my second iteration of this system (refined the camera and lens mounts). I was taking shots for a stitched panorama, and it is ok when I have a maximum width of 7cm (not surprising since the standard RB67 format is 7cm). However, when I push it another cm in each direction, I notice vignetting along the edges. I thought the lens was suppose to have enough coverage to 9cm width. Has anyone had similar problems with this width?

For those interested, you can see the test result at:

http://www.flickr.com/photos/9476880@N02/4896322780/sizes/o/in/photostream/

Thanks.

August 8, 2010

John, thanks for the information. I know a few people who do stage production, so I will ask to see if I can get some Gaffer's tape.

Fred, thanks. I think my problem in the past was not giving the coating enough time to cure.

August 8, 2010

Brian,

Had to go back to my originals to get the answer, which is four frames. I also have a version that merges the vertical test, which I am attaching. Sorry about the small size, but it gives you an idea of what is possible.<div></div>

August 8, 2010

Brett, thanks for the link. An interesting read, and I downloaded Helicon to give it a try. But not sure if I want to pay that much given that CS5 took a big bit out of my budget.

Mel, I have live view on the Fuji S5 also, but not the greatest in the world. I like your idea of sketching out things before shooting. Need to add that in. Right now, I just use small increments of my focusing rail and hope for the best. I still get a slice or two with blur, so I might try smaller or more consistent increments.

Stephen, yes, will give Helicon a try. I am also intrigued by its 3D modeling.

August 7, 2010

Hi,

Want to get some recommendations on processing with focusing stacks to address narrow DOF for macro photos, as well as any examples of evaluations of various software.

I have started working with stack focusing in CS5 and CombineZP. With only very limited attempts, I find that CombineZP seems to do on the average a better job, particularly in small areas with detail and depth. But, it also seems to have problems not made by CS5. So, for now my work flow is to use the results from CombineZP and merge selective parts from CS5. There is also some ghosting that I clean up manually.

Examples can be found at:

Thank you for your assistance.

August 4, 2010

Brian,

In the Schneider-Nikon comparison, the problem might be a change in WB that compounded the difference, but I have other indication is that the Schneider tends to be warmer than the Nikon. It may also be my Schneider.

The last photo is a stitched panorama with a Nikon D70 and Mamiya MF lens to test out how well shifting the back standard works. The edge is soft, as seen on the left, but I am overall pleased with the performance of the lens and the ability to move the back standard rather than rotate the camera. I also did some vertical panorama but did not post them.

August 3, 2010

Brian,

You are absolutely right; however, it is a question about whether LF or MF lenses are good enough. For some purposes, yes; for others, no. But you do gain the additional flexibility from the LF movements. I did some non-scientific comparisons that may be useful. The tests do not focus on sharpness only.

Mamiya MF lenses versus Nikon:

Schneider LF versus Nikon:

You can also check out the resolution at 100% an example of panorama LF hybrid (tandem) using only the shift of the back standard.

I leave it to each individual to judge, but for me, the setup is good enough for some uses.

August 1, 2010

Hi,

Thanks everyone for your suggestions. I do have a dark cloth that I put around the bellows, but am looking for something to repair the bellows.

I have not tried some of the products you have mentioned, although I have tried some plastic vinyl paint on another project that claims it is flexible. After a short time, the paint became hard and cracked. I have also tried fabric paint, and has similar difficulties. But that project involved trying to save a bag bellows, and the bag was much more demanding in terms of flexibility.

I think I will look for "Liquetex" or "Liquid Brush-On Electrical Tape." I am off to the hardware store.

I am still intrigued by how the person was able to neatly follow the folds when taping the whole length of the corners. Sill looking for advice on how to make those folds if anyone has ideas.

August 1, 2010

Dave, did not see your post while I was composing my response. Good point about the macro part.

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Posts posted by paul_ong1