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.

Continue reading “ANNOUNCING THE KODACHROME CITIZEN ARCHIVE PROJECT”

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.  

Continue reading “THE LEICA-M 90mm ƒ/4 ELMAR C”

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.

Continue reading “MY PANORAMIC IS A POINT AND SHOOT”

JEEP JAMBOREE AT BADLANDS OFFROAD PARK 2018 UPDATE: DAY 1

It’s been a great first day and I’m about to collapse into a coma for the next 6 hours, so forgive me for being brief! Continue reading “JEEP JAMBOREE AT BADLANDS OFFROAD PARK 2018 UPDATE: DAY 1”

JEEP JAMBOREE AT BADLANDS OFFROAD PARK

Field Photographer is at the Jeep Jamboree in Indy! This is the 9th Badlands Jeep Jamboree, and I’ll be here all weekend with Yeti 1.  Continue reading “JEEP JAMBOREE AT BADLANDS OFFROAD PARK”

GUEST COMMENTARY FROM ROBERT POOLE: THE V2 VOIGTLANDER 15MM ULTRA WIDE

Photo © R. Poole, published with permission

The beast in question is the Voigtlander 15mm Ultra wide and taming it is as hard work as it is fun. If you’ve ever shot an ultra wide you’ll know what I mean and this lens is no exception, in fact when coupled with a Leica M9 it becomes even more difficult.  Continue reading “GUEST COMMENTARY FROM ROBERT POOLE: THE V2 VOIGTLANDER 15MM ULTRA WIDE”

THE FIELD PHOTOGRAPHER SUMMER OF SWAG KICKS OFF JUNE 15TH!

We have a YUGE Summer planned for you, giving away tons of amazing prizes building up to your chance to get your hands on a mint Leica M4 with Leica 50mm Summicron ƒ2!  Continue reading “THE FIELD PHOTOGRAPHER SUMMER OF SWAG KICKS OFF JUNE 15TH!”

THE VOIGTLANDER 15MM F/4.5 SUPER-HELIAR V1

Sometimes you should listen to the voices in your head and sometimes you shouldn’t. Do not run with scissors in traffic. Do not befriend Nigerian royalty. Do not shave your head and climb that bell-tower. But if the voices are telling you to hang onto a particular lens, that someday you’ll figure out what it’s good for, and that someday you’ll figure out how to use it correctly, then listen.  Continue reading “THE VOIGTLANDER 15MM F/4.5 SUPER-HELIAR V1”

THE ONA BOWERY LEICA BAG

Bag shown with optional Leica M, Photo A. Tonn

I received the good news that Leica was fixing my Monochrome’s shutter, replacing the sensor glass, and giving the thing a general tune up.  The additional good news was that it would all be free.  The bad news was they estimated the repairs would take 18 to 20 weeks (and this 8 weeks after sending it in).  Regardless, this gave me the green light to buy a bag for my Monochrome.  I believe that every camera/camera system needs its own shoulder bag home suited to the way I use that camera.  Every camera has an infrastructure that needs to be contained and organized along with items of more general utility that live in camera bags.  If you use more than one type of camera and constantly swap cameras in and out of bags, then very soon you’ll find yourself trying to put a Nikon battery into a Leica or attach an M lens to an F mount or find yourself without a flashlight or pen at some critical moment.  Continue reading “THE ONA BOWERY LEICA BAG”

ZEISS PLANAR ZM 50mm ƒ/2

Highway heading into a storm on the Navajo Reservation, Northern Arizona, Leica M-P 240, Zeiss 50mm f/2 Planar ZM – Photo © Andrew Tonn 

When I bought a digital Leica I wanted a new lens to go with it.  There was no question that this lens would be 50mm.  I use other focal lengths (and have nothing against buying used optics) but, in this case, I wanted a new lens for the new camera.  When I bought a Leica M6ttl in 2001, I briefly used an antique 50mm f/2 Summar, but was soon able to acquire well-used 50mm f/2 Summicron from the 1970s.  I bought the Summar for $150 from an acquaintance and the second hand Summicron for $500 at the now sadly deceased F-Stop Camera in Akron, Ohio.  That lens has served me well but, when I decided to buy the digital M-P 240, the Summicron was in for repairs.  Anyway, I wanted a new lens for my new Leica and the M6 would be lonely and jealous if I confiscated its friend Summicron.  I like to maintain harmony in my stable of cameras after all. Continue reading “ZEISS PLANAR ZM 50mm ƒ/2”