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”
You shot your rolls of film, developed them or had them developed. You looked at the prints (or jewel-like slides)– the only way to look at your photos unless they were published — and decided which ones you liked. When you were learning photography you looked at the negatives and picked one. You held those little frames to the light or looked at them through a loupe over a light table. You made contact sheets and looked at those through a magnifying glass, at tiny windows into the worlds of your own past. They were full of mystery, tiny little scenes that you had chosen, burned into silver halide, glowing frames of silvery greys and blacks, the direct opposite of what you had seen. It was up to you to think about them, think about what you wanted. Then you had to turn the lights off, turn on the red light, fit that chosen frame into a holder, fit it into a larger frame, make decisions and then commit to it. You held your breath and pushed the button and the light came on, changing the photo paper invisibly, immediately, and forever. You took that piece of paper and slipped it beneath the developer. Again you held your breath, waiting, wondering. Would it come in a rush of overexposed blacks or a tentative, underexposed outline of whites and greys? Or had you calculated correctly when you committed light to the paper as you had when you opened the camera’s shutter to expose the film. Continue reading “PRINT YOUR PHOTOS (PROBABLY A BETTER TITLE OUT THERE)”
There were times when our two years in Mumbai seemed an eternity. I knew the time would pass quickly, however, that every day, strange as it was, would crossfade into the next and that sooner, rather than later, we would be headed back to the airport, boarding a flight out, and that everything undone would most likely stay undone.
ARLINGTON — Of all the Leica M lenses out in the world, there is one in particular that does not seem to gets its due. That lens is the 35mm f/2.8 Summaron, a lens made from 1958-1974. Continue reading “LEICA-M SUMMARON 35mm ƒ2.8”
The Nikon LTM glass, classic by any standard. But how good have they held up? This is what I set out to discover as I collected good examples of these lenses and got to work. Testing for the 35mm and 28mm was conducted on the Leica M9-Monochrome and Leica SL with Leica adaptors. I was let down by the 50/f1.4, finding it to be very soft wide open and what’s the point in having fast glass if you can’t shoot it wide open?
The 50mm is still and always has been a staple of mine. Over 20+ years, I’ve never been without a decently fast 50mm. To say I was excited getting my hands on a mint Nikon LTM 50mm f1.4 without any flaws or dust, fungus etc in the glass, well excited would be an understatement. Continue reading “NIKON LTM 50mm ƒF1.4”