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5 frames with a Canon R6 Mk II and its RF 50/1,2 L USM
I was recently given a Canon R6 Mk II and a set of lenses, including the RF 50/1.2, to test them in a specific environment, so to familiarise myself with the kit I spent a few hours wandering around with the most unlikely configuration for street photography: camera, battery grip and a bulky lens: not exactly what you would call ‘discreet’ or ‘unobtrusive’. However, as counterintuitive as it may seem, I had no problem carrying a ‘real’ camera with all the bells and whistles, as they often seem less threatening and creepy to the casual passer-by, the main target of street photography, because people think you’re just working. There would…
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Shooting Kite Surfing
Kite surfing is quite spectacular but difficult to photograph. As with any water sport, the main difference that affects the results is whether or not the photographer is embedded in the organisation. In the former case, being allowed to stay on the official boats allows him to be closer to the action and get better shots. In the other case, the photographer must essentially rely on a telephoto lens (the longer the better) at the expense of depth of field – Initially published on 35mmc.com. Jumps and the flight phase are the most spectacular moments to capture. However, as the next two photos show, it is essential that the autofocus works…
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The Stupidity of Being Stubborn
I knew exactly that I was going to fail, but I did it anyway, irrationally thinking that for some not well clear reason the law of physics and optics could be defied by the sacred mission of the photographer. Thus, contrary to basic common sense, a few weeks ago I brought a Nikon 35TI loaded with a Ferrania P33 (ISO160) to a jazz manouche concert of the Tchavolo Schmitt trio at the French Embassy in Rome. The outcomes, as it was easy to predict, were just (euphemistically) poor – Initially published on 335mmc.com Let’s start with a test shot to ascertain if there was some issue with the hardware: Apart…
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Nikkor 16mm Fisheye – Three Ways to Make use of Such a Lens
For me, a fisheye is the most challenging lens to use. Unlike other ‘normal’ focal lengths, a fisheye has an inherent deformation of reality. As a result, it is often used to create images with an unreal rendering, reminiscent of M.C. Escher’s self-portrait looking into a transparent globe.However, as happened in music with the advent of digital processors and effects, it is very easy – at least it was for me – to fall into the trap of focusing on the form rather than the message. In other words, as soon as a ‘weird’ looking photo is achieved, that was enough. Just like playing electric guitar back in the days,…
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Shooting Historical European Martial Arts (HEMA)-like Events
Historical reenactments are everywhere, and the volunteers who keep alive the memory of our past deserve our highest praise. Along with pure re-enactments, where the fate of the participants is already predetermined by history, and HEMA, where athletes compete using European weaponry and armour, there is a middle-ground discipline that is gaining momentum in Italy: Sport Reenactment – Initially published by 35mmc.com In short, SR players take part in reenactment events wearing faithful replica of the coats and arms of ancient Italian, Greek, Celtic and German tribes. But they also meet in forests and mountains to fight following a ruleset but without knowing in advance who is going to win. The…
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The Ferrania Film Series – Episode 1 – Ferrania Orto shot on October/November 2023
This is the first episode in a series documenting the use of Ferrania film in various contexts. Episode 1 features a Ferrania Orto shot with a Nikon 35 TI in Japan, between 25 October and 1 November 2023.
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How to (Unconventionally) Shoot Track and Field Competitions
Having been given a LOC pass for the European Athletics Championships currently taking place in Rome, I was able to practice unusual compositions in sports photography – Initially published on 35mmc.com Usually, the pictures taken by professional photographers working for media companies, broadcasters or magazines inevitably focus on the umpteenth iteration of the same actions (the concentration before the start, the relay change, the exertion after a fast or long run, etc.). Add to this the fact that the photographers are all in the same part of the venue, the results are very similar, at least in terms of perspective and field of view. This is an example: I don’t…
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Learning to Shoot Boxing Matches
Taking pictures in a boxing gym during regular training is a unique way to learn to understand when ‘the moment’ – a hit, a miss, a bob or a weave – is coming and develop an instinct for composition – Initially published on 35mmc.com This is important for two reasons. Firstly, as always with sports photography, you need to know the discipline you want to shoot and practice different options. But, in a classic Catch 22, if you don’t attend a fair number of bouts at ringisde, you won’t know the discipline and learn how to photograph it. Spending time in a gym, then, is the best second best option…
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5 frames with a Voigtländer Bessa R2, a Nokton 35/1,4 and a roll of an expired Kodak Portra 160
Tevere, the river that divides Rome in two, is one of my favourite places. No matter how much chaos there is in the ‘high places’: walking along the banks of the river puts you in another dimension, where time has no meaning and the pace slows down – Initially published on 35mmc.com Anchored boats stand still, in stark contrast to the fast-moving streets, crowded with cars, bicycles, pedestrians and tourists who have returned in droves once the pandemic is over. This is obviously a mirror image, but it looks as if it has been projected onto a digital screen. And here is what was mirrored: There are a lot of…
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5 frames with a Kiev 60, a Volna 80/2,8 and a Ferrania Orto
Working on a ‘project’ or ‘series’ is a well-known way of giving meaning to the act of taking photographs. It serves many purposes, such as training in a particular technique, familiarising oneself with a camera and/or lens, or exploring stylistic options. A project is usually planned in advance, though not necessarily in great detail. However, as in the case of these images, sometimes the idea of a common thread linking different images just happens. I was wandering around the suburbs of my home town with a Soviet-era Kiev 60 and its ‘kit lens’, the Volna 80/2.8, and a roll of Ferrania Orto when I noticed the oddity of a worn-out…
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National Road Running Championships 2023 – Portraits
These portraits are taken from a reportage made at the 2023 National Road Running Championships. These sample images are a good example of one possible way of ‘seeing’ sporting action. In some cases, the portrait is completely isolated from the background, revealing a particular ‘moment’ experienced by the athlete, such as extreme physical exertion, rest and recovery after the race, or enjoyment of the location. In other cases, a single person is still at the centre of the image, but the surrounding environment completes and enhances the overall meaning of the photograph. The ability to superimpose different layers of meaning, and to adjust the camera and lens accordingly, is what…
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5 Frames with a Praktica MTL5B, a Pentacon 50/1,8 and a Roll of Portra 400 (expired in 2011)
An afternoon of urban exploration looking for derelicted places gave me the chance to test a Praktica MTL 5b with its standard (pun intended) lens: the Pentacon 50/1,8, which I had never used before. To make things more complicated, I also took out from the basement a roll of Portra 400, expired in 2011. Net of the limitation of a (poorly maintained) roll more than 10 years old, the shooting experience was not that exciting. Loading the film proved to be more complicated (at least for me) than with my Pentax ME Super, Nikon F3 or Voigtlander Bessa R2A, and I lost the first three frames. Maybe more training will make…
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The Real-Life Lens Test Series – Episode 1: Viltrox XF 56/1,4 AF
This is a series documenting the real-life use of various lenses. The first episode features a Viltrox XF 56/1.4 AF mounted on a Fuji X-T4.
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The Expired Film Series – Episode 6 – Kodak Portra 400 – November 2016 shot in Sept. 2023
This is the sixth episode in a series documenting the use of expired film in various contexts. Episode 6 features a Kodak Portra 400 shot with a Nikon F4 and a Nikkor 105 F2 defocus at the dock of Pescara. The film was not overexposed, was processed with Affinity Photo 2.
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How to Shoot an Handball Match with a Film Camera
Shooting an handball match between Italy and France, unfortunately with an unhappy ending for my Country, was an opportunity to bring back to life the rugged Canon Eos 1V, the mighty fifty and a roll of a (unexpired) Kodak Tri-X 400. When I shoot sports and, in general, events where shutter noise is not an issue, I made a point, indeed, to always carry a film camera, so this time it was Canon’s turn. Shooting handball matches is quite challenging for a number of reasons. The first thing to stick in mind is that the ball is everything: if you miss it, the shot is more often than not a…
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The Expired Film Series – Episode 5 – Kodak Tri X 400 – September 2015 shot in Sept. 2023
This is the fifth episode in a series documenting the use of expired film in various contexts. Episode 5 features a Kodak Tri-x 400 shot with a Yashica Zoomate 105 at the Marina di Pescara. The film was not overexposed, was processed with Darktable’s Negadoctor module and finalised with Pixelmator Pro. The results are not, by far, definitive.
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Yet Another WDISF Post
Yes, this is another ‘why do I shoot film’ post, and no, the answers are not ‘because it slows me down’, ‘because it connects me to the act of taking pictures’, ‘because I love the unique feeling of analogue images’, ‘because the inherent limitations of a film camera inspire creativity’, ‘why not?’ or any of the other common (and perfectly legitimate) reasons usually associated with the question. In addition, the wide range of post-processing options available to make a digital image look like an analogue one, even in terms of film emulsion, satisfies the need to produce an image with the ‘personality’ of a specific film. So, even the idea…
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5 frames with the (much awaited) Ferrania P33, a Nikon F3 and a Nikkor 50 F2
I managed to grab a few rolls of the very first batch of Ferrania’s brand new P33 film, so I wasted no time in putting it to work with a Nikon F3 and the glorious Nikkor 50 f2. I won’t go into the technical details of this film, firstly because I can’t claim to be an authority on the subject, and secondly because Ferrania’s website has plenty of information. There is only one thing to know: the canister is not DX-coded, so shooting is only possible in full manual mode. This may change in the future, but for now this is the state of the art. Finally, a transparency note:…
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How to Shoot Stand-up Paddle Competitions
Shooting Stand-Up paddle is complicated because, like in motor sports, things go on largely even until, all of a sudden action erupts. In other words, boredom is the first and foremost enemy of the photographer: it shuts down concentration because it is not possible to keep the focus (pun unintended) for too long. It may worth shooting a single athlete, for instance capturing an intense moment or a fall. However the final result will become more interesting if there is something (or somebody) else in the composition. The first key moment in an SUP challegne is the start. Once the signal is given, the athletes start running a few steps…
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Photography and the Importance of a Proper Training
In photography, among the various activities falling under the ‘preparation’ label, training is oftend underevaluated. Just as many newcomers to the world of guns think that buying expensive equipment will make them better shooters, many photographers think that mastering a bunch of exoteric camera settings will be enough to get decent pictures. This is summed up in a common piece of advice to novice shooters (of both guns and cameras): get out there and shoot. Results will just happen. I have nothing against a ‘Zen’ approach to things, based on instinct and intuition, but my Western, Benthamite mind does not allow me to forget that preparation is necessary to achieve…
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How to Shoot Handball Matches
Photographing handball matches presents an array of challenges, requiring a high level of expertise, quick reflexes and a deep understanding of the sport’s dynamics. Central to the art of capturing these fast-paced events is the fundamental principle that the ball is the focal point of every shot. Failing to capture the ball likely produces a picture lacking relevance and impact. The presence of the ball not only indicates the focal point of the action, but also gives the image a sense of purpose and narrative coherence. Handball’s court is a hive of activity where players are constantly jostling for position, trying to break through defensive barriers or thwart an advancing…
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A Hellish Look
It is quite common these days to see images of various kinds using the facade of a building as a screen. In the case of government or state buildings, a flag appears out of nowhere after dusk.The overall effect is quite spectacular, especially in Italy where the palaces of power are beautiful works of art. However, when photographed with a narrow field of view, the result can be disturbing, as in this case, where the building looks more like some sort of hell embassy.It wouldn’t be strange, though: doesn’t the Pope live on the other side of the Tevere River?
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What Does ‘Professional’ Mean in Photography?
Pro’ is the photographer’s blessing and curse. It is the status we all – well, many of us – aspire to. It is the marketing gimmick created by the exploiters of the Gear Acquisition Syndrome to make people believe that tools make the craftsman. ‘Amateur’, on the other hand, is a word associated with casual photographers, ‘wannabe’ artists, and people who want to make you believe that tools make the craftsman. I have always been unconvinced that such a difference exists, at least in the general meaning associated with the words ‘pro’ and ‘amateur’, and in relation to the idea that the equipment used or the quality of the shots…
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Creativity vs Originality
Is the photo above creative? Is it original? Well… yes and no. It is certainly original because I ‘in person’ took it, and it is creative because – regardless of the aesthetic result – I took the time to arrange all the elements (composition, light, etc.) in a coherent moment —and I have the film negative to prove it. On the other hand, it is neither original —as in ‘unique’— nor creative because the same photo can be found here and maybe elsewhere on the Internet. Obviously, the linked photo it is not ‘the’ same as mine, because it is clear that they were taken at different times and places (mine was…
