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Wasted Shot Because iPhone 7 Poor Low-Light Handling
There’s a certain frustration in watching a scene unfold that you know deserves better than the tool in your hands can give it. This was one of those moments. The Adige was shrouded in mist, the bridge arches glowing faintly from warm streetlights, the water reflecting pinpricks of gold — a scene so atmospheric it almost photographed itself. Almost. The iPhone 7 Plus, for all its merit in good daylight, simply doesn’t hold up when the light falls away. The sensor struggles, the noise reduction turns painterly, and dynamic range collapses into a murky smear. What was meant to be a layered play of mist, water, and stone turned into…
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Fujifilm XF 100-400: a quick test
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A Bad Experiment
I had to cover “in emergency” a date of the musical Notre-Dame de Paris and found myself “unarmed” (no camera available whatsoever), so I have been forced to fall back on my mobile. While, at the end of the day and with great difficulty, I have been able to shoot something vaguely useful, this experience blew away any possible plan to use a mobile’s camera to handle an assignment. Simply put, mobile’s cameras suck, unless you go for (very)close or cheap shots. This should have been pretty obvious without the need of looking for hard evidence. Nevertheless, out of necessity, I have been able to test and learn on my…
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Daniele Silvestri – Live@Cinema teatro Massimo – Pescara
Be Canon, Nikon or whatever, when the assignment is demanding, there is no substitute for a DSLR. I kept taking with me a Fuji (mainly, an X-E2 with the 18-55 and sometimes an X100s) as a wide-angle camera. The results are very good but, in a scenario like a theater, can’t possibly match the versatility of a 5D Mk III with the mighty Canon EF 100-400. Enjoy the pictures!
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Action! (beware of Fuji X-Pro 2)
I’ve shot this picture with a Fujifilm X-E2 and a Zeiss C Sonnar T* 1,5/50 ZM. The split-image manual focus confirmation worked properly (though with a strong light it’s more difficult to handle it) and the resulting file in term of size and quality is fairly satisfying. Enter the X-Pro2 with a bigger resolution and new RAW format. While a 24 Megapixel APS-C sensor creates file that can be handled by most of the computer currently in place, the new RAW format will require the latest Photoshop CC/Lightroom update. So, if you chose not to enter into the mud of a subscription-based software licensing model, all of a sudden you…
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After a Tough Day
I took this photo with a Fujifilm X-E2 and a Leica Elmarit 90/2,8. Manual focusing with the split-image option has been fairly easy.
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Should I Buy It? (Best Taken With an 85mm)
…but actually with a 23mm (35mm equivalent, cropped.) It’s not just a shopping street. It’s a stage. Look closer: this frame holds a silent performance — a subtle interplay of desire, decision, and doubt. Three women stand just outside the warmth of the boutique, their eyes fixed on mannequins who, ironically, seem far more confident than the living observers. The mannequin inside strikes a bold pose, clad in red and certainty. The women outside? Bundled in coats, their body language somewhere between ambivalence and negotiation. On the far left, another kind of window. A glowing child’s fantasy, plastered with Disney’s “Frozen” — a reminder of simpler times, when wanting something…
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True Leather (Saved by Photoshop’s Crop)
A 35mm focal length is definitely much too wide for my kind of street-photography, but I must admit that the advantages of using a Fujifilm X100s in terms of efficiency and portability, beat any other issue related to the wideness of the lens. And the X100s’ resolution is good enough to obtain a good composition through Photoshop’s crop feature.
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Fujifilm X-Pro 2: Does It Worth It? (Lost In Via Del Corso)
As a Fujifilm camera early adopter (during time I got the X-pro 1, X100, X100s, X-E1 and X-E2) I was waiting for the X-Pro 2 to come and when that finally happened I didn’t feel so compelled to trash my (now) old cameras to do the switch. Long gone are the days of GAS (Gear Acquisition Syndrome), so I shall not buy this new piece of electronics because it doesn’t do anything that I can’t do with my actual set up (in particular, with the X100s and the X-E2.) The only actual point of interest, to me, are the dual-slot card and the weather sealed body: but I never needed…
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The Leica M9 CCDgate Outrageous Case
This is not “new” news, but is getting momentum: Leica M9′ sensors (including those fitted into the more than expensive “special” models) are plagued. The repair cost is 1.800,00 Euros plus VAT and shipping, not to mention the time needed to get the camera back (weeks? months?) Leica claims to offer paid support to the older, out-of-warranty customers but just doing a few math shows that it doesn’t worth it: if you own a between-three-and-five-years old M9 you’re supposed to pay 600,00 Euros (plus VAT etc.) while more-than-five-years old M9 owner will pay 1.200 Euros (plus VAT etc.) to get an old and outdated camera new sensor, affected by the…
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An Old Portable Camera
I didn’t stage this. The camera was already set up for a workshop in the park, a portable wooden box on a tripod, complete with focusing cloth and a ground glass screen. What drew me wasn’t the device itself—it was the reaction it triggered. The boy shielding his eyes, squinting into the past through a lens designed long before smartphones flattened photography into a gesture. The composition is dense in its centre, almost chaotic with overlapping limbs and sneakers. But the tripod anchors it. The machine, primitive and precise, holds its ground in a circle of discovery. I kept the perspective low and frontal to emphasise its presence as a…
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Pentax k-5 And The Aquapack 458
Like the other two previous pictures, this one too has been taken by a Pentax K-5 housed into an Aquapack 458. This underwater housing, at least for APS-C dSLR, is a cheaper alternative to the more expensive, though bigger and better engineered, Ewa Marine. It fairly easy accommodates the camera and the DA* 16-50, but using this lens that has a 77mm filter thread forces the use a focal lenght of at least than 40-45 mm, otherwise the border of the external cap fills-in the picture. A DA* 16-50 at 16mm (I repeat: with a 77mm filter thread) is the bigger lens that can be accommodated into the housing, but…
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60×40 Borderless Printing with a HP Z3200ps 24
Printing a 60by40cm image on a A1 roll (61cm wide) should be a pretty straightforward task: well, not on a printer like the HP Z3200. To cut the story, here are the settings: set your image landscape, and size it 60 by 40 cm, set your CANVAS size to 61,8 by 41 cm with a white background (highlighted in red, in the picture) so that the final image size is, indeed, 61,8 by 41, In the Print Settings menu select the Paper Size option and set a custom page size of 61 by 40,5, Again, in the Print Settings menu select the Margins/Layout menu and check the Borderless radio button,…
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Noon on the Beach
this image hinges on simplicity and distortion. The sun was directly overhead, leaving the shadow of the pole as a near-perfect sundial, slicing the centre of the frame from bottom to vanishing point. That shadow was the whole reason to shoot: absolute verticality rendered into graphic contrast on a near-featureless plane. The lens dictates the structure. At 16mm, lines bow. The horizon curves. Perspective exaggerates. I leaned into it—there’s no attempt to correct distortion in post. The intention was not to imitate a rectilinear frame, but to emphasise space as abstraction. The beach becomes a sphere, the sky a ceiling, and the tiny trace of buildings at the perimeter only…
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Damned Autofocus
I like this photo very much. The two travelers, mutually unbeknownst, stroke a pose like if they were on duty fashion models. Unfortunately, the Fujifulm X-E1 autofocus didn’t work fast enough and, as I’ve already told, zone-focusing is a pain in the neck without a properly marked focus-ring. Long live to Hasselblad, Zeiss, Leica and Nikon…
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A Fujifilm X-E1 Annoyance
The X-E1 is a good camera, though has some annoyances that make it less handy for Street Photography. Contrary to Leica, (some) Zeiss or (some) Nikon lenses, zone-focusing is not set on the lens barrel. You must do it either through the viewfinder or the LCD, and this makes problematic the switch from one technique to another. Same is true for aperture settings. Operating the camera one-handed, happened twice to me, led to a change of the image quality settings from RAW to Jpg. Unfortunately I wasn’t aware while shooting and I’ve wasted half a day in Barcelona getting inferior quality pictures.
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Hanging Towels
Some photographs are not about events, people, or decisive moments. They are about the quiet visual structures that shape daily existence without asking for attention. This frame belongs to that category. Taken with a Fuji X-T1 fitted with a Summicron 50 mm lens, the image centres on a simple domestic gesture: a few pieces of laundry left to dry against a sun-worn wall. There is nothing exceptional in the scene itself. What makes it photographically interesting is the way ordinary elements align into a restrained composition that almost constructs itself.
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The Google Experiment
The usual note: I don’t write about gear. But this time I want to do an experiment inspired by the consequences of having the post about Street Photography and Italian Law bounced by Adam Marelli and Luminous-Landscape. Since these two websites channeled my post around the world, the access to (other parts too of) my blog – mostly unknown, previously – steady increased. I’m far from saying that I’ve reached an “audience”, nevertheless this blog is gaining its space among the zillions of pictures that live on the Internet. And it is “quality” space, meaning that visitors (you’re always welcome, folks!) find something of interest by looking at my pictures…
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So Long, Eos-M
A couple of days ago, while wandering around a street-market, I spotted a small “exhibit” of old Nikon and Hasselblad lenses. I thought it would have been nice to get the two “classic” lenses for the System V, so I traded my Eos-M (and lenses) for a Carl Zeiss lenses: a Distagon 50 and a Sonnar 150. The seller was eager to strike the deal, but I’m not sure who actually got the best bargain…
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The Hasselblad Way
As the readers of this blog know, I seldom talk about gear because since the very first post on this blog I made a point of stay focused on (shooting) pictures instead of musing about pointless technicalities such as Camera A vs Camera B ISO performance, Lens X vs Lens Y sharpness, APS-C vs Full Frame and so on, but today I do an exception because of an old Hasselbld 500 C/M that I have been given to try (and that probably will buy.) There is only one way to shoot with a Hasselblad: following its rule. The film has to be loaded in a certain way, the magazine…
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A HDR Experiment
This is my first – and possibly, last – attempt of using HDR to post-process my pictures. Unless I’m able to get a more creative outcome, there is no reason to have pictures that look deadly similar to those of the other users of Nik Software Collection (as I am:))
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VueScan and the missed Bits-per-pixel
Ed Hamrick’s VueScan is a great software that supports almost every scanner available, including out-of-production film scanner. Sometimes its interface behave in non documented way as in the case of the Bits-per-pixel option in the Input tab that disappears once the Infrared Clean option is enabled in the Filter tab. I wasn’t able to figure out the relationship between the two settings until Ed Hamrick himself kindly answered (lightfast, I would say) to my question. Kudos to him for that, but it would be nice to have this Infrared clean-Bits per pixel issue mentioned in the user guide :)
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EOS-M. Tips and Results For Street-Photography
In the quest for an acceptable use of my Canon EOS-M I think I’ve finally found a way to exploit my M-mount lenses after the poor experience with the LCD focus. The last two exposures posted, this and this, have been shot with a Carl Zeiss T* Biogon 35/2,8 through zone-focusing, while the picture of this post has been manually focused using the EOS-M’s 5x magnification feature. In both cases the results are more than acceptable, giving a new life to this severely limited camera. All I can say is that is true what seasoned photographers use to say about the cameras: as soon as you get acquainted with your…
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Carl Zeiss T* 50 1,5 Sonnar and EOS EF-M 18-55
Gear time again. Notwithstanding its quirks I can’t get rid of this EOS-M camera and still try to find a reason not to dispose of it. This time I wanted to see how does the camera performs with Zeiss ZM lenses (namely, the Carl Zeiss T* 50 1,5 Sonnar) thanks to the – again brilliant – EOS-M to Leica M lens adapter by Master Adriano Lolli. As everybody can see the results are of a poor quality compared to the (not stellar) performance of the Canon EF-M 18-55. The Zeiss is not faulty (I use it on a Leica M6 and it works like a charm) so I came to…
