As with yesterday’s post, this was photographed in live view to take advantage of the silent mode. It really is silent (not just quiet). I really like it but still prefer looking through an optical viewfinder.
—Peter.
↑ Nikon D850 + Nikon 28mm f/1.4 E.
This was photographed with the D850 resting on the floor and in live view, with the back LCD angled up for easy viewing. In this mode, touching the screen will initiate autofocus and then the shutter will automatically release… silently.
It’s a well-known feature in the D850 but this is the first time I’ve tried it.
Many find Nikon‘s implementation of all this to be slow (relative to mirrorless cameras), but it’s quite usable for this sort of image. It’s certainly useful in quiet venues where silent operation is desired.
However, I wouldn’t think of using it to photograph sports, flying monkeys, or the aerosolized droplets of a sneeze.
—Peter.
↑ Nikon D850 + Nikon 28mm f/1.4 E.
↑ Nikon D500 + Nikon 200mm f/2 G ED VR II.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Nikon D850 + Nikon 28mm f/1.4 E.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
The cheekiness is still there.
—Peter.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
For the last few weeks I’ve been posting mostly B&W film images. The feeble winter light here seems to paint every scene with moody and muted tones anyway, so why not just get rid of colour altogether? However, even I get tired of that after a while so today I want to inject some colour into the proceedings.
Here then is an image from De Mello that was taken in early December, when the light was a little more plentiful.
—Peter.
↑ Nikon D850 + Nikon 28mm f/1.4 E.
f/2 @ 1/30 sec
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
I made use of the close-focus attachment of the 50mm Dual Range (DR) for this image.
I have always admired the build quality of Leica M3 cameras but like many photographers often found the 1 m close-focus distance too limiting. The DR solves this problem and gets me even closer than I’m used to when photographing with an M-series camera.
At first I thought that attaching/removing the extra hardware would prove impractical/cumbersome but in practice it hasn’t held me back. In fact, the engineering and design behind the Dual Range is quite well thought out and the system is simply a delight to use.
—Peter.
f/2 @ 1/30 sec
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
f/2 @ 1/30 sec.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
↑ Leica M3, Leica 50mm Summicron Dual Range, Kodak Tri-X 400, and Plustek 8200i.
Prosophos 