Thoughts
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Why a Longterm Relationship (with your camera) Makes You Feel Good
There is no ‘forever’ in life (life included), and apart from more mundane matters, this is especially true of photography. In fact, the ‘infidelity rate’ that affects many relationships with cameras and lenses is only tamed by the money it takes to break them (and sometimes even the lack of money does not stop them from happening). But at least when it comes to photography, the tranquillity of a stable relationship has some advantages over the excitement of an ever-changing course. From daily and continuous use comes confidence, and from confidence comes a Zen-like state of mind that makes the body to react automatically when the primal part of the…
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DSLR-like…?
I decided to write this post after having stumbled across the next ethusiast review of a smartphone published on a reputable magazine, claiming that the device can deliver ‘DSLR-like’ photos. In fact, as is often the case with ‘camera experts’ who work for a magazine or earn money by posting videos making funny faces on social networks, it was just a rewrite of the manufacturer’s product specifications and promotional material. There are few things, in photography, I dislike more than than these ‘DSLR-like’ claims made in the advertising of smartphones and compact cameras because ‘DSLR-like’ is the archetype of a meaningless statement made to lure people into using an arbitrary benchmark…
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To Do or To Own? (or the Photographer’s Dilemma)
To Own or To Do is the photographer’s version of Erich Fromm’s dilemma posed in his famous essay, ‘To Have or to Be’. I don’t have the authority to talk about a complex topic such as the relationship between individual frustration or lack of accomplishment and compensatory or self-delusional behaviour. I would rather like to focus on how putting gear ownership over gear use affects the ability to take meaningful shots. Initially published on 35mmc.com Like many fellow photographers, I have been affected by the Gear Acquisition Syndrome, which in my case has manifested itself not in a quest for a —whatever it means — ‘perfect image’ but rather a…
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Mir-20 20mm 3.5 on a Pentax K1-II – A Field Test
Photographing with a 20mm lens is quite demanding on the eye, as the composition has to take into account many more objects than with a normal prime or telephoto lens. As a result, it is very easy to get meaningless ‘postcard-like’ images. Not having used such a lens before, I certainly fall into the latter category, so the following photos (possibly, but only one) only serve to show some of the optical features of the lens – Initially published on 35mmc.com Resolution Despite its age (the lens was marketed between 1973 and 1996), the optical resolution is not bad. In this image, apart from the chromatic aberration, you can clearly…
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7Artisans 35mm 0.95 – Testing this Fujifilm X Mount Lens in a Demanding Environment
So far I have been very happy with the 7Artisans 35mm 0.95 in X-mount, but I have only tested it in non-demanding conditions. Although the results were promising at first sight, only a real test could give a definitive verdict (at least for me). So I decided to put it on trial last December 13, shooting ‘La Cenerentola’, Gioacchino Rossini’s melodrama at the Teatro Marrucino in Chieti (IT), together with the ‘battle-tested’ Fujifilm XF 18-120. Initially published on 35mmc.com Did it work out? Let me spoil the conclusions: I really like this lens in absolute terms and not because of its value for money. The colour reproduction is excellent, the resolving…
- Colour, Daily photo, Downtown, Nagasaki, Osaka, Photography, Streets&Squares, Thoughts, Tokyo, Travels, Yokohama
Why You Should Only Shoot in Your Backyard (or ‘The Art of Belonging’)
What do these pictures have in common (apart from having been taken in various places in Japan)? No, they don’t have the same look and feel, composition or use of light, nor they convey a particular meaning. What they have in common is that they’re just dull and boring —meaningless, indeed. This picture of the Yokohama’s Chinatown Dragon is hardly different than the others available on the Internet. Initially published on 35mmc.com It shares a similar fate with this one, taken last Mid November in Osaka, and, as Google Lens mercylessly shows, with this one, shot in Omura, near Nagasaki. One can hardly say that this is a never-seen-before view of Tokyo’s Kyu-Shiba-rikyū Gardens, or of…
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A Few Shots with the 7Artisans 35mm f/0.95 in X-Mount
Let’s get straight to the point: here are a few shots taken with a Fuji X-T4 and a 7 Artisans 35mm f/.0.95 (obviously) in X-mount. All photos were taken at the widest (nominal) aperture of the lens, i.e. 0.95. I’m not sure if this is a real value, but it doesn’t matter because comparing the shutter speed with (relatively) slower lenses like the Zeiss Planar 32mm F1.8 shows that the 7 Artisans is proportionally faster, and that’s enough for me. – Initially published by 35mmc.com This is an 8x crop of the featured image. Even wide open the lens was able to make the Ryanair word easily readable and I…
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A creative approach to zone focusing with superfast manual lenses and mirrorless cameras in street photography
Manual lenses on mirrorless cameras are often a match made in heaven: (once) cheap, high-quality lenses can finally be brought back from the grave and used on modern cameras. However, as with any marriage, there are some rough edges that are difficult to smooth out. In the case of manual lenses, the main problem is the lack of autofocus, which limits the street photographer’s options. Zone focusing is the usual way to overcome this limitation, but this solution has an inherent problem: to get a decent depth of field, you need to shoot at least at F8 or even F11. This means that, in street-photography, it is not possible to…
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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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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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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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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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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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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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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…
- Actors, Autumn, B&W, Bruxelles, Colour, Daily photo, Fighters, Fighting Disciplines, Photography, Spring, Summer, Winter
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…
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Pentax – In Praise of Usability of Cameras and Lenses
The Internet is full of columns and videos about why ‘I left brand X for brand Y’, magnifiying this or that ‘new feature’ that forced a photographer to ditch his previous setup in favour of a brand new one. Sometimes there is a genuine motivation behind such a choice, sometimes – often – it is just a clickbait set up by the need (or hope) to monetise a piece of content published on a social network. This long introduction violates the golden rule of journalistic writing – tell the reader what’s the matter in the first paragraph or so – but it was necessary because this article is exactly that:…
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An Exercise in Composition (was: Rowing Boats)
Initially, I took this photo to document the poor state of a rowing teams’ dock. The idea was to praise the passion of this small group, who in the indifference of the general public, keep this discipline alive in a town, where soccer reigns supreme. However, when I saw the photo, it was the composition that attracted my attention: a classic example of the use of converging lines to drive the eye of the viewer. My only regret is that I failed to frame the small boat on the right, missing its bow. Had I been shooting digitally, I would have checked the result and retake the photo. Film, by…
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A few test shots with an MC Cosinon T200/4
This lens has several shortcomings. It has a pronounced coma and the focus barrel requires a considerable amount of turning to get it right, thus making it challenging to fast focus when you need to. Camera sensor clearly influences colours’ rendition. Despite the ‘personality’ of this lens, the overall picture’s feel is clearly (to me, at least) that of the classic ‘cold’, slightly bluish Pentax (or, should I say, Sony) sensor. At f4 (all the images published here were taken at this aperture), the bokeh is pleasant. Nothing exceptional, but for a lens that sells for around 15 euros, the results are good enough. That said, a core question, asked…
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Different Stories
Taking ‘static’ pictures, such as those of buildings and other architectural structures, can be quite challenging, as it is easy to fall into obvious, already seen compositions that rob the shot of any individuality.One of the things that can make an otherwise dull image more interesting is the presence of some kind of action that blends in with the stillness of the environment.In this case, the woman on the phone is in exactly the same position as the model on the billboard. Only they are telling two different stories.
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As Seen on Ferrania Film’ Stories section…
A selection of the pictures I took this year in Boston and Tokyo has been published on the official Film Ferrania website, in the ‘Stories’ section.
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An experiment with Dall-E, ChatGPT and a Nissan S8
This is an experiment based on a picture of a Nissan S8 taken at the Nissan Crossing in Ginza.First, I asked Dall-E to describe what he ‘sees’. Then I started asking questions to locate the place where the showroom should be, being careful not to give any hints.ChatGPT did not give a correct answer on the first try, but eventually it did. Me: Describe this photo ChatGPT: This photo features a futuristic-looking race car displayed indoors, presumably within a showroom or an exhibition space. The car is designed with an aggressive aerodynamic shape, with large, protruding front winglets and an expansive rear wing, characteristic of high-speed, high-performance vehicles, possibly a…
