Lenses Tag

We are gathered here to hear Brother Williams speak to us of the wonders of Fujifilm. The border restrictions have eased and he is allowed out of the house  - and just as importantly - back in again. As owners of Siamese cats will attest, this is a vital function...

What's In A Name?   It seems that the photography world is divided over the importance of brand names - especially when it comes to choosing a camera. Of course, there are die-hard fans that would fall on a sword for their beloved Canon, Nikon, Sony and Fujifilm. Some couldn't care less about being brand-loyal. They want the best camera with the right features regardless of what badge sits at the front. And then, there are the Leica groupies - and the debate to establish if Leica is more than just a name. One side of the fence has shot with Leica for a very long time. The other, don't see the value in spending five times what a non-Leica camera costs for the same performance.  First a little history. Ernst Leitz founded the Leica company in 1869 in Wetzlar, Germany - it was formally known as Ernst Leitz Optische Company. The very first Leica, and the first successful 35mm camera ever developed, was invented by Oskar Barnack. Barnack was an engineer and a passionate travel photographer - this passion resulted in the...

" Vitamin C? Ascorbic acid? Prevents scurvy - staves off head colds - tastes like orange juice. Why not C? " No, why the " C " on the Fujinon GF 80mm f:1.7 lens? None of my Fujinon Xf lenses have a " C " on them and they work perfectly well. In fact I've given up off-brand lenses entirely in favour of the Fujifilm product. What gives? " Simple. Switched to " C ", the lens responds to camera controls for aperture settings. Just like the little brother lenses such as the 27mm f:2.8 pancake lens, this one can be controlled by the wheel under the right thumb. There is a report in the viewfinder as to which aperture is being selected. If you have your left hand on the focus ring at the time it need not be shifted to alter the aperture ring. But you can choose an automatic response by the aperture to camera metering with the " A " setting or preselect the aperture you want with the main ring. From f:22 to F; 1.7 there are positive...

I have always been a sucker for tiny equipment - ever since I traded a Crosman CO2 pistol for a Minox B camera in 1966. The facts that the guy who got the pistol lodged a pellet into his forehead while target shooting and I never actually took a picture with the Minox are beside the point - I still think I got the best of the deal. It sensitised me to tiny photo gear*. I never actually owned a Swiss Tessina film camera - the next stage of miniature wonder in the film  era. But I've seen one for sale in CE and if you were prepared to be dedicated like a watchmaker, you could take pictures. Possibly of mountain goats and chocolate factories. And my experience with the Pentax 110 SLR and the Pentax Q digital cameras is just as a spectator. Oddly enough there is a keen enthusiast with the latter camera who turns out excellent photos. But the NiSi lenses that are coming out now have whetted my appetite afresh - albeit with frustration, as the shop copies Carlos...

What is a real deal? a. An actual thing that is right there in front of you - as opposed to a promised product that has just popped up as a Kickstarter with the possible idea that it might be a concept. The difference between a wannabe and be. If it can be dropped on your foot, it's a real deal. b. A good deal - something that is well-priced. A bargain. A snip, an advantageous purchase, a sales item. If you feel the need to run out yelling at your husband to start the car ( see IKEA ad ) it's a real deal. c. A product that has proved itself to someone other than just the advertising department. It has been on the market as a demonstration item - or has been sold to another successful photographer  - and is now back on the table to commence work again. If it's been used and has worn out the first user - it's a real deal. The featured products today qualify on all these grounds. All three are Leica-related - two of them made by...

Your decision to buy by the barrel or the glass is important; particularly if you are driving home. It's the same in the photo game. You can be drawn into the shop and over to the lens counter on the prospect of several things: a. The look of the lens barrel. b. The focal length/aperture of the lens. c. The optical design d. The performance - both optical and mechanical. e. The mount - the fact that it fits your camera. f. The advertising. g. Novelties. When lenses were uncoated, people bought the new coated ones as a novelty and found they did better. Then new coatings came along and the same thing happened again. Don't be ashamed to admit that you have been drawn to a new lens by the look of the thing rather than the performance it is supposed to have - or vice versa. That's part of the advertising game that supports retail photo trade. If you feel you're being pummelled on all sides it just shows that we pummellers are doing our job. And you can take it from someone who has seen lenses naked...

It's Also known as Not Working. And you'll encounter this all through your digital photographic experience. You also encountered it all through your analog time too, but to a greater extent. You could fall down the analog stairs in the dark quicker and it hurt more when you hit the bottom. Why? Because there were a lot of those falls from which there was no recovery. When you made a real mistake with exposure or film handling or development or fixing, whatever you had done until then went well and truly out the window. I've got slides exposed in my first days of 35mm shooting that make me cry - mistakes that wasted opportunities. I can also remember darkroom errors that killed whole photo shoots - and they could be as simple as mis-reading dilution tables for the chemistry. Okay - you could do it royally with digital as well - you can format off an entire card and make everything disappear. However, the camera generally makes this harder by one step of permission before it will obey - some do it in...

Sorry about the tortured English of the title - late night and too much coffee. What I really meant to say is " Here is a tracking gimbal mount for a very large telephoto lens that is not made with the Wimberley uni-pivot design. It's from the old masters of aluminium - Manfrotto. The design is double-pivot over a central training point with friction locks for the horizontal axis. It has a very simple but very sturdy construction - there has been no over-styling with it. The lower section of the support bracket has also been clad in a neoprene or rubber material - i suspect this is to assist photographers in cold weather conditions to avoid freezing to the metal. The mount is the standard large Manfrotto 577 sliding mount adapter that will couple to very large cameras and lenses. There is no more to this than what you see, but what it is is imminently usable and durable. I do note one bit of swank; they've included a plate that attributes the design to Graziano Ferrari. He turns out to be a...

Some years ago, when they were new on the scene, I reported on the Nikon Df camera. It was an unusual offering from Nikon at the time, and has not become any more mainstream in the interim. Finding an example on the CE shelf this week spurred me onto another consideration of it. Nikon cannot be accused of being sticks in the mud...