MUDDY BUDDY JEEP JAM ’18 AND THE FUJI X100F

When I set off to any event, I bring a camera I can trust, one that I’ve extensively used in the field and know is reliable. I’ve never used the Fuji X100F in the field as a primary, actually I’ve never done anything more than shoot a few photos and toss it back in my bag. It’s the only digital camera I took with me to cover the Muddy Buddy Jeep Jam 2018.

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THE LEICA-M 90mm ƒ/4 ELMAR C

MONTERREY — I have shot tightly framed portraits of people since I began taking photos at age ten or eleven.  A certain style of naturalistic headshot, the subject fully aware and looking straight into the lens, has been a major element of my work for my entire photographic life.  I still have almost every negative I ever shot and though I hope I have learned a thing or two along the way, I am still rather happy with many of the portraits I took of my classmates, teachers, and family back in Junior High and High School.  

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The 35mm f/2.5 Voigtlander Color Skopar

The oddly and charmingly named (but what Voigtlander is not oddly and charmingly named) 35mm Color Skopar is among the smallest and lightest 35mm lenses you can get in Leica M mount.  At around $500 new, it is also one of the least expensive. It is an excellent choice for your 35mm lens whether or not price is a consideration.

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THE PATH TO THE SUMMIT, AN EVEREST ADVENTURE

By Chris Urban

For years, going to Mount Everest was at the top of my bucket list.  I grew up reading my brother’s National Geographic magazines and watching the Discovery Channel, dreaming about exploring the Himalayas, going face to face against mother nature.  Since I didn’t have a spare $100,000 and a death wish, I knew I was going to have to settle for Everest Base Camp rather than the summit. While it’s not the top of The Mountain, going to Everest Base Camp is still no small feat, and required months of preparation.    Continue reading “THE PATH TO THE SUMMIT, AN EVEREST ADVENTURE”

THE WILDS or A JEEP AMONG LAND ROVERS

It may look like deepest Africa with fields stretching over rolling hills and wide open plains that resemble the Serengeti, but it is, in fact, The Wilds of Ohio. The Wilds is a nature preserve filled with African wildlife. Every so often, this wildlife refuge was home to an off-road event exclusive to those who owned a Land Rover. We brought a Jeep.

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TOLEDO JEEP FEST 2018 & THE LEICA 28/ƒ5.6 SUMMARON M RERELEASE

This weekend, right in Jeeps hometown where the legend is created, was the Toledo Jeep Fest. Thousands of Jeeps show up for 3 days of celebration of all things Jeep. From the Friday night headliner (this year it was KC & The Sunshine Band) to the collectible and historic Jeep show at the Seagate center and the parade with over 1600 Jeeps.  The Toledo Jeep Fest is widely regarded as one of, if not the best, Jeep show in the nation. Saturday I got in my own Jeep, headed north and took the newly rereleased Leica 28/ƒ5.6 Summaron lens with the M10 along for the ride.

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THE NIKKOR 20mm ƒ/2.8

Maya Shaman conducts rituals in the cemetery in Chichicastenango, Guatemala. Nikon D800, AF Nikkor 20mm f/2.8D

Go wide!  Go wider!!  Go as wide as you can without going too wide!!!  This is how I think about the 20mm lens and, to be specific, the classic 20mm f/2.8 Nikkor in both auto and manual focus.  In my long experience with this lens — I have used it in its MF and AF versions as one of my primary working optics since around 2000 — I have found it to be a special lens in particular and generally as wide an angle as one can get without entering the realm of special effects.  Lenses wider than 20mm can come in handy for unique perspectives and situations, but rarely for every day use.

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ANNOUNCING THE KODACHROME CITIZEN ARCHIVE PROJECT

Andrew and I have a fondness for Kodachrome that often comes up in our discussions of films photography’s past and future. For my part, I never actually shot much of it. The first time I’d ever bought any was for my 2003 venture to the island nation of Haiti, and nearly all of the film I shot on that trip was stolen or lost coming back into the U.S., so I’ve never seen my own images on Kodachrome.

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THE LEICA CL, WOULD OSKAR BE PROUD?


Every year millions flock to comic stores all over the country for an event called Free Comic Day. During this event parents and kids of all ages can get offerings from their favorite publishers for free. Special comics produced just for this event. Sometimes leading to major events, and sometimes a self-contained story just for this issue. And every year there are fans who go all out, dressing as Batman or the Ghostbusters and driving from shop to shop taking photos with kids and sometimes even the parents. This year while photographing the event for Worlds Greatest Comics in Westerville Ohio, I brought along the Leica CL and the L-Mount 23mm ƒ2 Summicron lens. FCD is a packed event, where comic shops are full, wall to wall of people of all sizes and ages. This was a great high energy event to test out the compact APS-C system from Leica….

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MY PANORAMIC IS A POINT AND SHOOT

A few years ago, in the last days of the common film era (CFA) and the beginning of the Age of Digital (AD), point and shoot film cameras were common items.  Even as the digital writing was on the virtual wall (for those who cared to look) the camera industry introduced an entire new format, the Advanced Photo System or APS.  The system used a self-contained, more or less idiot-proof cartridge designed to address various perceived problems with 35mm film.  It used a somewhat smaller negative (30.2mm x 16.7mm as opposed to 36mm by 24mm) (think APS-C sized sensors as opposed to “full-frame” sensors),  had no film leader and, among other features, nearly every APS camera could be easily switched between several aspect ratios. These were simply crop modes but they were briefly quite popular, so much so that many 35mm point and shoot models followed suit and added a panoramic mode.

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