Posts from the ‘Digital’ Category
Testing Round Two
So, in response to Mike Peters’ suggestion, I did a little test yesterday on my business trip. Two 50 mm lenses, one Canon 5D. This shot, focused at infinity, was with the 50mm f/1.8 Canon lens.
Close up below:
Smokestack sharp, as it should be.
Now, same shot with the C/Y 50mm and adaptor:
Now, the closeup:
Palm fronds sharp, smokestack fuzzy, just like the test at my home. The adapter seems to be off, I would think.
Now focusing closer:
Now, a close up:
You see the printing is crisp, and the control cable in the foreground gets a little softer as it approaches us.
Now, the C/Y with adapter:
Now, the enlargement:
Notice how the text is soft and the control cable seems to get sharper the closer it gets.
Testing the Problem
Today the weather got better and I finally got a chance to run some focus tests with the 50mm C/Y lens and the adapter, paying attention at every moment. First, focusing at infinity. This image was shot off the deck in my backyard, seeing if the house in the center of the frame was in focus at infinity. Not that this matters, but after manually focusing the lens, the focus confirm pinged on the house.
Here’s a blow-up of the center of the frame:
Notice how the tree at right looks sharp, while the house further away is soft. This shot at f/1.4, so theoretically any problem if focusing wide open and then stopping down is not the issue.
Next, I tried the same shot, but at f/5.6. As suggested, I focused stopped down (which, as with wide open, pegged the lens at infinity.
Same image, enlarged:
As you can see, greater DOF covers the focus error.
Now, a tougher test, which _I_ may have failed. The lattice work here is about 10 feet away:
This was shot at f/1.4, and the lattice is thin, and a tough focus challenge anyway. As with the preceding test, focus, confirm pinged but I had achieved visual focus as best I could regardless.
Enlarged:
As you can see, the lattice is not in focus.
I tried again, just to see, coming at the lattice from behind, as it were:
And enlarged:
Again, not so hot, but this may be me, of course.
This time tried at f/5.6, admittedly standing a bit closer, maybe 6 feet?
Enlarged:
Well, this image is truly problematic. Going to f/5.6 doesn’t seem to help. Yikes.
Last image:
And, yes, that’s flair! This lens needs a hood, for sure. The sun is setting almost off the top right diagonal corner.
Enlarged:
Focus is on the rail coming in from the left. Leaf is soft. Exposed at f/1.4.
I have yet to open the body and examine the screen. I shall do so tomorrow.
Thoughts, anyone?
Ben Lifson
Photography is an art form. I’m gonna make a stand there, not really expecting my readership to muster much of an argument. I don’t talk much about the art, mind you, because, as Kirk Tuck has discussed, blog posts talking about art or vison don’t generate much traffic. However, if I posted a review of the Canon 5D Mk III, I bet you I might set records for page views on my site. And, since I just described myself on my business cards as a “fine art photographer” I guess I’d better start talking about it. Eh?
Normally, I tend to keep to my standard topics, which specialize in film-related issues. If I’m known for anything on the web, it’s that I post more b&w than color, and more film than digital. I love those images and topics, and it would be unlike me to veer to far from those topics and those issues.
But I’ve had in the back of my mind two posts which are related to each other. The first is a post about Ben Lifeson, the second a post about Sean Reid. The reason they are related is that I found out about Mr. Lifson by reading columns written by Mr. Reid.
So, I’ll get to Mr. Reid another time. Today I talk about Mr. Lifson.
Mr. Lifson is a long-time teacher of photography and editor of photography books. In 2005, he published a series of articles about the nature of visual art and the traditions of painting as they applied to photography at a web site called rawworkflow.com. I felt, as you might reading this now, that rawworkflow.com was an odd location for such a series of articles. But there they were anyway. There were 12 articles in all, and the main theme of the articles was centered on the relationship between fine art (drawing and painting) and photography.
It would be difficult to summarize all the topics Mr. Lifson discussed in detail, but among them were the structure of a face and how best to portray that face; the importance of the hands in portraiture, the importance of the bottom of the frame in terms of grounding the image, etc.
There were 12 articles in all, and I printed each one out. The insights and wisdom was always astounding, and reading them and re-reading them always brought insight and new ways of looking at my work.
When I thought of discussing these insights recently, I went to find the articles (each of which I had printed out, very important as they had ceased to be found on rawworkflow.com — I assume Mr. Lifson had asked that they be taken down, or perhaps their license for use had expired). To my dismay, I only found articles 5 through 12. Numbers 1 through 4 were not in the hanging file where I thought I had left them.
I don’t know where they went, or how I lost them. But lost they seem to be. I will, over the next few weeks, try to summarize the insights in various columns on the blog.
All the images in this post were captured in Vancouver and LA on my trip, which concludes this evening.
Color Efex 4
I occasionally test software for Nik. I got a chance to used the new Color Efex 4 and just received my copy. This is one of the images from the walk-about I did with the C/Y 50mm mounted on the 5D. There are lots of things to like about Color Efex 4, and I’m in the midst of preparing a blog post about the software.
More to come.
Focusing Screens arrive at Patterns of Light n’ Dark!
Using an adapter, this C/Y is a kind of poor-man’s Zeiss lens on my 5D. Now that I have the focusing screen, I can get accurately focused frames at f/1.4 (within human error, of course). I am a happy man, as this same lens works on my RTS II, my EOS 3, and my 5D. And, well, it would also work on my wife’s 40D and my old trusty 10D (albeit as an 80 mm equivalent).
This opens up new possibilities to me. It gives me a very nicely functional old-school film SLR, a larger, bulkier Canon film SLR, and a digital camera for less $$$ than the Zeiss new 50. Significantly less. Now, of course, there is a cost.
I don’t really think for a second the image quality is as good as the new Zeiss lenses made for the EOS mount. But it’s better than any 50mm I have for an EOS mount now, for sure.
Metering is a little tricky, in that when I mount the lens, the EOS cameras won’t read the actual f-stop, but they will read whether I’m over or under given the chosen shutter speed. But it is in old-style stopped down metering (the view frame gets darker as I stop down). But I incident meter a lot of the time anyway, so that’s no biggie if I’m shooting the EOS 3, and I can chimp with the 5D if I need to.
Switching the adapter if I switch lenses causes a little juggling.
So, this is an overall good thing for me. Next post I will discuss my thoughts on my digital-raw-file-to-b&w-file using DXO or Nik Silver Effects workflow. While there are many ways to do this, I have some observations about this effort.
And, as always, there are more film scans coming.
Just some DXO doodling
Just playing around with the DXO film pack tonight. Original Image below. Just thinking through a workflow.
Part of what I’m working on is “how much do you tweak the original RAW file before you do the b&w conversion? Do you make the original file ‘pretty’ as a color image and then convert it? Or do you leave it as natural as you can?” In other words, how do you get it into a state that replicates how b&w film would have ‘seen’ it?
Never really thought about this before.
Dxo Film Pack
So, for a long time I’ve been using Nik Silver Efex to transfer my digital files to b&w. And I’ve been very happy with it. But I got an email yesterday offering me an upgrade to Dxo Film pack, which I bought a very long time ago. They had Sabastian Salgado as a spokesperson, and I fell for it. I installed it yesterday, and I processed this image (above), shot with my 5D and the C/Y Contax Zeiss lens as a test. One image below was with Nik Silver Efex; the other was with Dxo film pack. The chosen film was Tri-X. Tell me which one looks more like Tri-X to you.
and then this one . . .
I have a favorite, I wonder if you do.
Which Camera to settle on?
I’ve been pondering this question for a while now, as I begin to take stock of the cameras I own. I intend to cull the herd, as it were now that I have landed squarely on the line of lenses (Zeiss) I like and want to build upon and invest in. I mean, I like cameras just as much as the nect guy, maybe more, as objects to be enjoyed for their peculiarities and beauty. But enough is enough. Now I am carefully evaluating the bodies upon which I can mount those beautiful Zeiss lenses. Below I’ll just ‘think out loud’ about various cameras I own and how they fit into this long term plan of mine.
Detail Note
I love manual focusing lenses. I love to manually focus when I shoot. It feels like I’m actually working the camera, maintaining control, and getting closer to the heart of the image. Not that I don’t use auto-focus, I have and often do, but when the circumstances allow it, manual focus is my first choice. I spoke about this a bit with Mike Peters, who shared with me a personal tidbit: he has a specific prescriptive right-eye lens in his set of ‘photography glasses’ that help him manually focus. I’m gonna do that, I think, especially because as I get older, achieving accurate focus is more and more challenging (especially with narrow DOF apertures). I’m having a harder and harder time with viewfinders that don’t provide me with some kind of focusing assistance in their design. The most accurate focusing for me is with a Rangefinder, which does split the image, which you align as you focus. I can use those viewfinders consistently to achieve the focus I desire. Thus, my ideal camera should have a split-prism viewfinder, but as you can see below, not all have them. This is becoming more and more of an issue as I refine and hone the kinds of images I want to make.
On to the cameras I have used or own:
Canon FTb
Pros:
- Feels like home, it’s the make and model I cut my teeth on.
- Easy to use; there are a minimum of controls, and they are easy to adjust.
- Simple to maintain; give it a cleaning every few years and it will last. If the light-seal foam goes, there are kits you can buy on the internet to replace the old foam. It takes a beating; I’ve dropped mine a couple times (it’s dented) and it works fine.
- Lenses are cheap and plentiful plentiful on eBay, but their price has risen with the adapters that allow them to be used on micro 4/3 cameras.
- Because you can switch out lenses, you have options
- Small enough not to attract attention on the street
Cons:
- Obviously discontinued, I own two copies so I have parts for repair. But these bodies are 40 years old.
- Relatively low highest shutter speed (1/1000th), which matters if you wanna shoot f/1.4 or f/2.0 outside (which I often do)
- Sometimes a little clumsy to handle; ergonomics are not the best
- Cannot use different focusing screens
- Cannot mount Zeiss lenses
Canon Canonet
Pros:
- Small, easy to carry around
- Easy to use; there are a minimum of controls, and they are easy to adjust.
- 40mm focal length, great for the street
- Split image focusing; even though the finder isn’t the clearest, I still find it easy to focus.
Cons:
- Obviously discontinued, brittle. But cheap to replace
- Sometimes a little clumsy to handle; ergonomics are not the best
- One fixed lens
- Good for the street, but little else
- Really just a specialty camera. Quirky.
Canon 5D
Pros:
- Digital, which gives me options with every image
- Great image quality; plenty enough megapixels for me
- Uses all EOS lenses, which means I can shoot pretty much everything I wish
- Uses same set of accessories as my 10D and my wife’s 40D, so I get bang for my buck.
- Zeiss makes a line of lenses, so I get access to the best
- Does give focus confirmation for manual focus
Cons:
- Digital, so some day the innards will fail, and the whole system will probably not be worth fixing.
- Ergonomics are not the best, but they ARE familiar to me
- I use it for landscape quite a bit, but this model is NOT waterproof (sigh)
- Too big and attraction-generating to use on the street; the camera is HUGE on the street
- Almost impossible to manually focus without a specific focusing screen, and that particular screen has been back-ordered from Adorama since June of this year. In other words, Canon may have stopped making it.
Canon EOS 3
Pros:
- Controls are familiar, Canon’s cameras all work alike
- Uses the EOS lens line, which means it has access to the Zeiss ZE lenses and all the lenses I have for my 5D and my wife’s 40D
- Has focus confirmation when lens is ‘in focus’ (sometimes not very accurate, though)
Cons:
- Discontinued, so finding parts (like remote releases and, um, focusing screens, is difficult or impossible)
- Sometimes a little clumsy to handle; ergonomics are not the best
- Hard to focus manually even with confirmation.
- A little on the big side for street work
I really want to like this camera, btw.
Nikon F100
Pros:
- Ergonomics are outstanding; this is, by far, the best modern camera I have used. Canon, you should be ashamed of yourself in this area to have the best modern camera I have used be a 10-year old Nikon film camera.
- #1 is why I keep coming back to this beastie
- It is still available, so, in theory, parts are still available, like remote shutter releases and focusing screens
- Zeiss makes lenses for this camera, the ZF line.
- It has focus confirmation, but it is a little more clumsy to use than Canons’ system. A little.
- You can still buy focusing screens.
Cons:
- It’s not a Canon, so nothing I have works with it. I have actually never shot this camera with a modern Nikkor lens. I only have older Nikkor manual focus lenses.
- When shooting with older manual focus lenses in manual exposure mode, it is very hard to know whether your exposure is spot on, because the aperture must be set manually and the coupling doesn’t register the current aperture, so the meter doesn’t read accurately. Or, on the other hand, I might be using the bloody thing wrong. Footnote: I just discovered over the weekend that the F100 I bought used from Craiglist in Sept. ’09 is BROKEN, and rhus the trouble I have had with metering it is not the camera. Big Sigh. This camera is now off to KEH for repair, because if I ever want to sell it, you know, it has to work.
- Almost impossible to manually focus without confirmation with the default screen, and the confirmation registers by a dot in the finder, but if you’re looking at the dot, you’re NOT looking at the image. At least with Canon’s focus confirmation, the confirmation registers in the frame, not outside the frame.
I love the way this camera feels in my hand. If I had unlimited funds, I’d sell all my Canon EOS gear and switch entirely to Nikon. But that is not my current situation. But this camera draws me in for a film SLR.
Voightlander R2a
Pros:
- Light, handy, easy to use, easy to carry.
- Ideal for the street. Unconscious for me to use.
- Easy to focus.
- Zeiss makes lenses for this camera, the ZM line.
- Oh, yeah, and some company named Leica makes lenses this camera can mount.
- Perfect for the street.
Cons:
- It’s a rangefinder, so you can’t effectively do macro, telephoto, or use a polarizer. It’s a street camera, that’s it, and if I didn’t do street photography, I wouldn’t use one.
Contax RTS II
Ok, so this was the camera I used for the post the other day where I was a little ‘cute’ about what I was shooting. This combo is an experimental replacement for the FTb in my bag.
Pros:
- Ergonomics are very good; handles well and focuses easily.
- Uses Zeiss lenses manufactured specifically for the camera.
- These lenses can be used on Canon EOS gear with an adapter.
- You can still find focusing screens, even though the camera is discontinued.
- The bodies are inexpensive and seemingly plentiful
- This would sit in my bag along with the Bessa to get the shots I couldn’t get with the Bessa and be able to use Zeiss glass.
- Electronic shutter, which allows for higher fastest shutter speed.
Cons:
- The Zeiss lenses are available but a bit pricey.
- It is, after all, discontinued
So, do I even invest in Zeiss ZE lenses if I can’t use my 5D to manually focus? And if I can’t manually focus with the 5D, does being able to use the Contax lenses on that camera even matter?
There ya go.
Playing Cameras
Last week I visited my old undergraduate haunts, Montclair State University in Montclair, NJ. I was working on my next book with my friend, Kevin Allen, and he lives but a couple blocks from the campus. Mike Peters, he who I had profiled a couple weeks ago on this blog, is the University photographer, and Mike graciously agreed to sit with me for a while, chat about cameras and photography (or, ‘playing cameras’ as he told anyone who we ran into as we were wandering around the campus together) and loan me his Zeiss lenses and a Hasselblad to shoot with.
He was auditioning the new Portra 400 film from Kodak; I had a Zeiss lens on my EOS 3, a different Zeiss lens on Mike’s 5D, and I shot a roll of Fuji 400h and a roll of Tmax 100 in the Hassy he lent me.
We, of course, found seats in the cafe on campus where the light was best, and exchanged pleasantries and coffee. These three tops images were captured with the Zeiss 50mm f/2.0 Makro Planar (my goodness what a lens).
Then I switched to the Zeiss 100mm f/2.0 Makro, and was rewarded with images such as the above.
I was manually focusing, which can be a challenge when the depth of field is very, very thin, as in the image below.
This is the place where I first received my training in photography, and Mike and I wandered over to the photo lab, which was almost identical to the way I had last seen it, in the fall of 1976.
30+ years ago, my proof sheets sat washing in that sink.
They still teach traditional photography there in 2011, and a Photo 101 class was working on what seemed to be their first test strips that day.
The focus here is off, not horribly but a little in front of the faculty member (Stacy Morrison) shown here working with a student.
All in all, it was a great day and I truly appreciate Mike’s time and patience as he answered my many questions.
And, thanks for the loan of the lenses. I was truly impressed with the image quality and was reminded of thre Zeiss quality yet once again.
Silver Efex Pro 2
As I mentioned yesterday, doing a great deal of work with the Beta of Silver Efex 2. This image was original captured on Ektar in February of 2009 in Sedona, AZ. The color image was processed first in Nik Color Efex Pro 3 using the Tonal Contrast preset to give it a little more punch. Then brought into Silver Efex, Underexposed a stop, a blue filter added, Ilford Pan F film type, some Fine Structure enhancement, the edges of the frame darkened, and a cutout-like frame edge applied (all those in Silver Efex). Control points were used to raise every pixel that was, at that point, in Zone 0 up to Zone 1 or two, then saved.
This is the original image scanned and imported:
And below we have the image after it went into and out of Color Efex Pro:
To my eye, the final image has a kind of medium format quality to it, which, honestly, I never thought I’d see in a digital image.





















































