POTD: Seeing the wood from the trees

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Fog. La Tania, Les Trois Vallees, France.

As ever, there’s a moral to this story. Look at the above image.

Suppose I tagged it ‘shot with the first preproduction Leica M10’ – there would be soaring traffic, minute discussion, questions over grain and image quality, people wondering why I didn’t upload a full size image, others gushing over the lens sharpness…etc.

Now suppose I left it as is, i.e. with caption only and no camera info – it would be seen as an image only, and merits judged accordingly – commensurate to the subject, composition and technique. (I like the image very much, but then again I clearly suffer from personal bias.)

Consider a third scenario. The truth: the image was shot in 2005, with a Nikon D2H – a camera that was already perceived as being under-specced noisy technology at the time of its release, with a mere 4MP and ISO 1600 that had to be used with extreme caution. Does it make it any less of an image? I should think not; if anything, the fact that it was possible to capture this tough scene – it was dark, extremely foggy and low in contrast – the camera focused cleanly on the trees at f2, with one of Nikon’s sharp but frequently miscalibrated DC lenses (in the days before AF fine tune) – should say something. The tonal range was also pretty challenging; frankly, at the time I remember being amazed that there was anything there at all, other than a white mess. If I reshot this today with a D800, would it be better? Better technically, yes. Better compositionally, I doubt it. The camera doesn’t influence that part of the image making process.

Forget what other people think: what would you think of the image in each one of those three scenarios?

Moral of the story: it really doesn’t matter what camera you use. Get over the gear lust: cameras are tools; some work better than others for a given purpose – know your tools, select the right ones, and that should be the end of equipment masturbation. Ultimately, it’s the sack of meat behind the viewfinder that makes the difference, not the metal. MT

Print announcement

Starting today, all of the current and past POTD images will be available as a limited edition (maximum 20) 13×19″ numbered and signed fine art print at US$300 delivered by courier anywhere in the world; please contact me for details.

One man’s detail is another man’s retouching nightmare

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The editing suite. Maitres du Temps Chapter 2, Nikon D800, 60/2.8 G Micro

At 100% view on a 15″ MacBook Pro, (1440x900px) note the little red box in the navigation pane at top right: this is how much (how little?) of the whole image you can see at once. Let’s just say that retouching takes a lot longer when you’ve got this many pixels, and the product has to look perfectly flawless. I of course have to remove my reflection from the watch crown – you could probably tell what lens I’m using, since the 60/2.8 G has a fairly distinctive front (small element, big vanity plate, no markings). MT

Photoessay: Those magnificent men in their flying machines

There’s a magical whimsy about hot air ballooning. It’s always appealed to me because of the silence, grace and intimate connection with your environment that you can’t get from other forms of flying; unfortunately there’s also the issue of complete lack of control over navigation, and the fact that your sole protection from the elements is a wicker basket, and the only thing keeping you from crashing is a thin bag full of gas. But still, I do enjoy watching them fly and very occasionally going up in one myself. MT

Images from a variety of events.

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Fire. Nikon D700, Zeiss ZF.2 2/28 Distagon

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Unhappy at being left behind. Leica M8, 35/2 ASPH

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Rising. Leica M8, 35/2 ASPH

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Watching the show. Nikon D700, 24/1.4

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Evening glow. Nikon D3100, 85/1.4 G

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High priest saluting the power of fire. Nikon D700, 24/1.4

POTD: On portraiture

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Steve, head chef. Nikon D700, 85/1.4 G

Although I’m not a portrait shooter primarily, there are occasions on which one is required to rise to the occasion – usually for something related to another job. A long time ago, I did shoot fashion. If you have professional models or outgoing, confident people, it’s pretty easy to get a decent headshot. But it’s difficult to capture their personality because they’re always in ‘professional’ mode around a camera – you can’t show them for who they really are, because they’re not comfortable enough to show it around you.

The flip side of the coin is when you have a person who clearly has a very distinct character, but suddenly gets uncomfortable and shy in front of the camera.  Steve is a great guy, and very, very passionate about what he does – but completely blocks up and gets stiff in front of the lens. The trick I always use is to fire away a lot of frames until they get used to you; then go in for the stealthy kill: this shot (for a client) was not one of the hundred or so ‘posed’ frames we did; that was my intention all along. It was captured during a coffee break while he was talking to the client’s marketing director. I had the camera by my side on the chair, which I raised stealth-ninja fashion and got off a double tap to the head: bullseye. We landed up using this image for the final selection. Moral of the story: anticipate, and be ready at all times. MT

Mirrorless system lens compatibility recommendations

For those of you with legacy system lenses, compact system cameras seem to make sense, yes? You can use all of your old lenses on newer bodies via adaptors and you’ll not only get to use your favorite optics, but you’ll save money to boot. And the really short back flange distances of some of the lenses mean that just about everything from an SLR or RF mount will fit with the right adaptor.

Well, not quite: firstly, all the fields of view will be different unless you’re going between APSC and APSC. Then there’s also the issue of size: why buy a compact mirrorless systems with the intention of reducing weight when you then go stick an enormous lens on the front?

Bottom line: there are many disadvantages to using legacy glass on mirrorless systems; more so than advantages. I knew that going in, and only use my micro four thirds system with dedicated lenses; but I have got a whole drawer full of adaptors, mostly purchased out of sheer curiosity.

If you are hell bent on making unholy pairings, then read on.

Quick aside: ‘Good’ means lenses work well, and deliver excellent or outstanding optical results; better than the system’s native lenses. ‘OK’ means that they work about as well. ‘Bad’ means that you shouldn’t bother; most of the time this is due to non-telecentric wide angles not playing nice at the edges due to very short back flange distances and a lack of offset micro lenses on the sensor to counter sharp angles of incidence between image rays and sensor. This manifests as purple fringing, chromatic aberration, vignetting, and corner softness. It could also mean the lens just doesn’t have enough resolution to deal with a very high density sensor – for instance the 24MP Sony NEX-7. There are exceptions to this rule, and where I’ve found them, I’ve noted them. The Ricoh GXR M-module is an exception because it does have offset micro lenses and was specifically designed for RF glass.

Sony NEX
Good: Legacy Sony/ Minolta telephotos and normals; new Sony midrange and high end zooms; Leica M telephotos
OK: New Sony wides; Leica M normals
Bad: Older wides; Leica M wides; C-mount/ CCTV lenses (won’t even cover the image circle!)

Micro Four Thirds
Good: SLR high end telephotos, SLR normals, RF telephotos. Exception: Zeiss ZF/ZF.2 glass, Leica 35/1.4 ASPH FLE.
OK: SLR midrange telephotos; some of the slower RF normals
Bad: Leica M wides (pay attention to your adaptor: cheaper ones probably won’t be planar, and land up causing obvious astigmatism. They may not even focus to infinity, or minimum distance!). The Leica Noctilux 0.95 does not do well on micro four thirds; it displays a lot of CA and blooming. I suspect that it is only optimized with the focal plane precisely at 28mm from the flange. Most C-mount/ CCTV lenses – these lack the resolving power and flatness of field.

Nikon 1
Good: Any of the new Nikon lenses, say post-2009; almost all of these are telecentric and of sufficiently high resolving power. Any of the SLR high end telephotos, RF telephotos
OK: RF normals, all other cheap telephotos; older Nikon MF glass; RF normals
Bad: Cheap C-mount/ CCTV lenses – these lack resolving power; RF wides

Ricoh GXR
Good: Any Leica M

Nikon D800 quick update: Diffraction and studio work

One of the most frequent questions I’ve heard about the Nikon D800 is “where are the new diffraction limits?”

I spent the last two days using the camera for a studio product shoot – watches, of course – and now feel qualified to answer that question. Yes, my camera does have a misaligned AF module, but since you manual focus and stop down, it isn’t much of an issue for this kind of work. Low light wide-angle photojournalism, yes. But I digress.

Bottom line: with the 60/2.8 AFS Micro (which I think is the best of the macro lenses Nikon currently makes), everything is good up to f16, there are hints of it by f22, clear diffraction at f25, and I wouldn’t go past f29 even in emergencies – you’re probably back down to maybe 18MP of real resolution.

This is obviously a serious problem for the kind of photography I do. The solution? I just ordered the PC-E 85/2.8 Micro. MT

Addendum: I don’t know how many people this is going to matter to, but I notice the refresh rate of the built-in flash is slower – it matters to me because I’m an iTTL-CLS kinda guy, especially for my product and food photography work. What’s worse is that with the D700, if the camera wasn’t going to let the flash fire, you could cycle the power once and have a shot straight away. But with the D800, you’ve just got to wait, and wait, and wait for the capacitor to cool down and recycle. Cycling the power makes absolutely no difference whatsoever.

POTD: Voyeur, reflected

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Voyeur, reflected. Olympus E-PM1 Pen Mini, Panasonic 20/1.7

Breaking news: Leica + Apple partnership!

A recent, reliable source has told me that the much hyped Photokina announcement for Leica won’t be a new M, but instead a further step towards documentary photography: to put better tools in the hands of citizen photojournalists, they have decided to finally give in to collaboration requests from mobile phone makers. Apple – probably the only design equal of Leica in the phone world – has decided to take on Nokia’s Carl Zeiss partnership and gone to Leica. It’s not exactly surprising after Jobs’ launch of the iPhone 4 – which compared the design gestalt as aspiring to the Leica philosophy.

The announcement makes a lot of sense as it will also tie in with the iPhone 5’s arrival, which has traditionally been around Q3. It’s also time for a redesign of the iPhone 4, which has now seen two generations of service – much like the plastic design of the 3G/3GS.

No concrete details on the sensor – my contact was very tight-lipped about that – other than ‘it will be more than 8MP, but not as many as that ridiculous Nokia 808 thingy; image quality will be fantastic because it will be bigger than most cellphone sensors and have no anti-aliasing filter.’ The real killer, however, will be the lens: an f0.95, 35mm equivalent. It will have AF with limited (10cm, I suppose?) macro functionality, is a Leica design, and will carry the NOCTILUX-C ASPH 0.95 inscription – presumably C stands for ‘compact’? I have no idea how thick this is going to be though – maybe there’s a lens protrusion, or folded optics, or a similar trick to keep the thickness down. Hopefully it won’t be too much of a pocket lump.

What excites me the most, however, is that they apparently got Apple to cave in an offer not only a physical, two-stage shutter button, but the option of saving a DNG file too – hooray! MT

POTD: Morning pistes

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Morning Pistes. Nikon D2H, 70-200/2.8 VR

One from the archives – I haven’t been skiing in ages. I think it’s the adrenaline rush that does it for me; what other sport (except skydiving) allows you to go this fast without an engine? Next year, year after…I keep promising myself but life, work and everything else get in the way. It’s important to remember to take time out to relax, observe your surroundings and be inspired again – especially for somebody involved in the visual arts. Perhaps creativity in accounting or tax is best avoided, though. MT

Photoessay: Dawn over Kuala Lumpur

Although not technically aerial shots, the 421-m tall platform (plus hill) afforded by Menara Kuala Lumpur (KL tower) is a great place to get some interesting images of the city downtown at dawn or dusk – though it usually rains in the evening, so morning is a better bet. MT

Series shot with a Nikon D700 and 28-300VR.

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