Mark Focus

Kodak Blue Brownie 2A with Case, Strap and Price Tag

2012-01-08T20:20:00.004-05:00

From my personal collection. This one is a keeper!

How to Lose $2400 Worth of Photo Gear in 24 seconds.

2011-12-01T16:23:00.003-05:00

how to lose $2400 in 24 seconds from Kurtis Hough on Vimeo.

***UPDATE***
Rumor has it that B& H Photo has replaced Kurtis's camera for free!

Canon New EOS 1D X

2011-10-18T08:26:00.006-04:00

Canon has announced the latest professional DSLR to its lineup, revealing the Canon EOS-1D X.

The full frame, 18.1 megapixel Canon 1D X boasts dual DIGIC 5+ processors, which Canon claims offer three times faster performance than standard DIGIC 5. Canon says the EOS-1D X's dual processors enable full-resolution continuous shooting up to 12fps with 14-bit A/D conversion and full camera operation, which it claims is the fastest of any DSLR on the market.Other Canon EOS-1D X specs include a 61-point AF with 41 cross-type sensors, including five dual cross -type points, as well as a new 100,000-pixel RGB metering sensor which is linked to the AF system and powered by its own dedicated DIGIC 4 processor. Canon says this allows the EOS-1D X to detect faces and colour to ensure correct exposure levels and improved AF tracking in challenging situations.

What's more, a super high-speed mode extends the shooting speed to 14fps (JPEG format only), while a new shutter and mirror mechanism works to reduce shutter lag and mirror bounce, Canon claims.

Low light photographers will also enjoy the EOS-1D X's wide ISO range, which runs from ISO 100 to 51,200, and is extendable up to ISO 204,800.

The Canon 1D X also offers full HD video recording, promising longer recording options that automatically create a new file once the 4GB limit has been reached.

The Canon EOS-1D X records movies from the full-frame sensor giving users access to the full range of manual settings to control exposure, focus and frame rate (1920 x 1080: 30 (29.97), 25, 24 (23.976) frames per second, 1280 x 720: 60 (59.94), 50 fps, 640 x 480: 30 (29.97), 25 fps). The Canon 1D X also displays sound levels on the LCD screen, which users can make adjustments to.

Retaining the classic Canon EOS design, the Canon 1D X supersedes the Canon EOS-1Ds Mark III and EOS-1D Mark IV in the hierarchy of Canon DSLRs.

The Canon EOS-1D X price was not available at the time of writing.

Launched alongside the EOS-1D X is a new, compact WiFi transmitter, the Canon WFT-E6, designed for transferring images when a wired connection isn’t available.

Supporting the 802.11n WiFi standard and offering Bluetooth support for connectivity to external GPS devices, Canon claims the WFT-E6 offers secure transfer of images and video to an FTP server, or the ability to display content on a compatible screen over a DLNA (Digital Living Network Alliance) connection.

The Canon EOS-1D X will also be compatible with a new GPS receiver – the GP-E1. Enabling users to add location information to EXIF data and geographically track the progress of travelling shoot, the GP-E1 is particularly useful for wildlife or location-based photographers who may need to record the location of a scene for future reference.

I'm PenReady

2011-09-28T12:03:00.001-04:00

A you may or may not know, Olympus Camera had been handing out 1000 new PEN cameras as part of their Pen Ready Project. I'm lucky #896 and here is my camera. Its an Olympus Pen E-PM1 and as soon as I have some semblance of understanding about it's operation I will be posting photos.

For those who miss your analogue photo gear

2011-09-14T07:17:00.003-04:00

Digital Analogue from ftjelly on Vimeo.

An Open Letter To Canon

2011-08-19T08:14:00.003-04:00

Shot on a Canon EOS 60D with a Canon EF 50mm f/1.4 USM

Photographer Jimmy Chin Shoots Climbing Culture on the Cliffs of Yosemite for Nat Geo

2011-08-17T09:55:00.002-04:00

California Video

2011-08-08T14:46:00.001-04:00

A Day in California from Ryan Killackey on Vimeo.
Ryan and his wife worked on this project on and off for over a year and a half. It is composed of over 10,000 photos shot in California with a Canon Rebel XS, 50mm (nifty), 18-55mm kit lens, 50-250mm.

Think Tank is having a SALE!

2011-08-01T12:28:00.003-04:00

The guys at Think Tank Photo just sent me an email that they've marked down the price on some of their favorite products. Here's the deal:

Think Tank Photo's Modular set.

The Modular Set components for sale individually are the Belly Dancer Harness, All the Other Stuff, Bum Bag, LARGE Lens Drop In, Lens Changer 75 Pop Down, Lens Changer 25, Lens Changer 35, Lens Changer 50, Lens Drop In, Lightning Fast, Modular Pouch, RU Thirsty, Speed Changer, Chimp Cage, Trim Changer, and Whip It Out.

AND....

The Skin Set.

The Skin Set components for sale individually are the Skin 50, Skin 75 Pop Down, Skin Chimp Cage, Skin Double Wide, and Skin Strobe.

To get 'em while they last just click on the links below the images!

How to Build a Cyclorama Wall in your Studio

2011-07-25T09:16:00.002-04:00

A cyclorama is a corner-less, seem-less studio to shoot in. In this video Ashley gets the job done right!

I'm starting load images to 500px.xom

2011-07-17T08:44:00.000-04:00

Here's one of the first:

Bikers by Mark Kalan

What you do when you have no work and spent too much money on equipment!

2011-07-12T20:17:00.002-04:00

What you get when you have friends shoot your wedding!

2011-07-08T14:39:00.002-04:00

Through the Hasselblad viewfinder

2011-07-06T15:02:00.001-04:00

Through the Hasselblad viewfinder, a gallery by gustavlrssn on Flickr.

Via Flickr:
A gallery of shots looking down into the viewfinder of a Hasselblad camera.

BBQ

2011-07-02T13:19:00.001-04:00

BBQ, originally uploaded by Mark Kalan.

Happy July 4th!

Franceso Quinn 2006

2011-06-27T14:31:00.002-04:00

FQuinn©MKalan2007_1.e, originally uploaded by Mark Kalan.

I shot this portrait of actor Franceso Quinn back in '06)?) for an article about him titled "To Live and Ride in LA." Francesco is a motorcycle and bicycle devotee.

Bicycle Sculpture in Brooklyn

2011-06-26T06:57:00.002-04:00

Bicycle Sculpture in Brooklyn, originally uploaded by Mark Kalan.

This photo is now appearing in the London-based bicycling blog Velorution.
Thanks guys!

Sometimes, no matter where you look, all you see is garbage.

2011-06-25T10:04:00.005-04:00

GarbageCan_101, originally uploaded by Mark Kalan.

Oveflowing garbage at Marcus Dairy Cycle Sunday, originally uploaded by Mark Kalan.

Panorama of Marcus Dairy Before and After Demolition

2011-06-24T15:19:00.003-04:00

Panorama of Marcus Dairy Prior to Demolition, originally uploaded by Mark Kalan.

View from Brooklyn Heights Promenade to elevated BQE to street

2011-06-24T15:16:00.001-04:00

View from Brooklyn Heights Promenade to elevated BQE to street, originally uploaded by Mark Kalan.

Today is Beaumont Newhall's Birthday. He Would have been 103.

2011-06-22T11:21:00.002-04:00

Pee Wee and Sandy the Seagull

2011-06-19T15:19:00.000-04:00

Pee Wee and Sandy the Seagull, originally uploaded by Mark Kalan.

NEW Sigma 200-500mm Zoom available with Canon mount and in GREEN!

2011-06-16T16:56:00.007-04:00

Sigma's Mondo F 2.8 200 - 500mm Zoom in green.

Now available at B&H Photo for the remarkably low price of $25,999.00. Click here to buy one.

Details from Sigma:

The APO 200-500mm F2.8 EX DG is the world’s first Ultra-Telephoto Zoom Lens that offers a fast aperture of F2.8 at 500mm focal length. It covers the widely used 200 to 500mm focal length range, and maintains its fast F2.8 aperture over the entire zoom range. Four SLD (Special Low Dispersion) glass elements provide excellent correction for all types of aberrations and produce a high level of optical performance throughout the entire zoom range.

Shooting distance and focal length can be viewed on the lens' LCD panel, which is an additional convenience for the photographer.

A filter can be inserted towards the rear of the lens, and a circular polarizing filter can be used with its ingenious rotation mechanism.

A dedicated APO TELE CONVERTER 2x EX DG II is supplied as a standard accessory with the APO 200-500mm F2.8 EX DG.

Its exclusive design minimises image degradation usually associated with teleconverters. When this dedicated teleconverter is used with the APO 200-500mm F2.8 EX DG lens, it becomes a large aperture 400-1000mm F5.6 AF Ultra-Telephoto Zoom lens.

Deflated Birthday Balloons

2011-06-12T15:17:00.000-04:00

Deflated Birthday Balloons, originally uploaded by Mark Kalan.

Hasselblad Event in Utah.

2011-06-10T06:57:00.000-04:00

A very mellow video about a Hasselblad invite-only event in Utah. Its worth sticking it out to the end for the gag.

Video: How A Hard Drive Works.

2011-06-09T16:19:00.002-04:00

B & H Lists New Hasselblad 200Mpix Multi-Shot Camera on Website

2011-06-07T13:59:00.002-04:00

Well it has finally arrived at retail! B& H announced that they have new Hasselblad H4D-40 Multi-Shot 200mpx camera in stock!

The camera uses 6 exposures to make one 200 mega-pixel image.

Built on the reliable H4D chasis.

I'd really like one but the truth is that I'd be happy enough to just own a 35mm HC lens for my H4D-40.

The Hasselblad H4D-200MS is all yours for five bucks under forty-four large! Now, let me take a break to clean the drool off my keyboard then I'll be able to write something about it.

Alamo Drafthouse Theater Doesn't allow Cell Phones! Yippee!!! WARNING: EXPLICIT CONTENT!

2011-06-07T07:44:00.000-04:00

At the Alamo Drafthouse theater in Austin Texas they throw you our if you use your cell phone. Sounds like a great place to see a film! View their ad ( BE WARNED: EXPLICIT CONTENT!)

Nikon D5100 Commercial shot with a D5100

2011-06-02T12:06:00.002-04:00

Kudos to Nikon for shooting their D5100 commercial on a D5100 - thats a no-brainer. But why does Nikon brag about the 1080p picture quality in the commercial then post it at only 360p?

See more of Ashton's Nikon adventures here.

Nikon's press folks say:

The “Man of Action” spot for the new Nikon D5100 features Kutcher as the hero in an action sequence, ready to go toe-to-toe with the villain when things don’t quite go as planned. Cinematography was directed by award-winning Director of Photography Matthew Libatique, ASC (Black Swan, Iron Man), and the entire spot was filmed in full HD (1080P) using the Nikon D5100.

“As a cinematographer, I enjoy working with the latest gear to push the boundaries of what’s creatively possible with a camera,” says Matthew Libatique, ASC. “The D5100 is a consumer camera that delivers excellent HD video quality. It was fun working with it on a commercial shoot and it delivered on giving the piece a new look."

The Nikon D5100 is a versatile D-SLR camera that lets consumers unleash their creative potential with smart features like a 3-inch rotating LCD and the unique Effects mode that can be applied to photos and video.

Hasselblad H4D-40 Hands On Review

2011-05-28T12:43:00.005-04:00

Note: I wrote this piece about a year ago and it was published here in SHUTTERBUG Magazine co-written by Jason Schneider. Below are my original comments but be sure to read through to the end because my opinion changes!

Costs More Than Any Car I've Ever Owned!

The Hasselblad H4D-40 with 80mm F2.8 lens is priced five bucks shy of $21,000 dollars. In my short life on this planet the only time I ever considered parting with that much money at one time I was placing a down payment on a house. Nor have I ever spent such a sum on a car, or a motorcycle for that matter. So the question is; how do you justify twenty-large for a camera? Answer; you get what you pay for.

Heavy as a Harley-Davidson.

My first impression on picking up the H4D-40 was its heft. This is one seriously solid piece of machine that weighs close to seven-pounds with the standard 80mm F2.8 lens, which is both a good, and a bad thing.

After shooting hand-held for about an hour my wrists reminded me that for the last few decades I should have been lifting weights instead of forks and cocktail glasses. Note to self; If you're going to keep this camera start working out.

On the positive side, the camera's weight provided enough mass to shoot slower speeds hand-held. I was able to take an outdoor portrait with the 210mm lens at 1/100 second without noticeable image deterioration. Albeit concentrating like a marksman; deep breath, slow exhale, steady; shoot!

Confusing ergonomics.

A little more on hand-held shooting, the H4D has an ergonomic hand-grip, which is also the battery and has buttons and wheels to control the camera functions (not part of the actually battery).

In regard to learning the camera's operation, moving up to Hasselblad from Canon and Nikon dSLR cameras did not help. While the wheels controlling f-stop and shutter speed are similar (Nikon wins in this department as you can reverse the functions of the wheels in the control panel) the Hassy has extra buttons both on the grip AND on the body that need your attention otherwise you're going to accidentally lock up your mirror and look like a fool in front of your client while you figure it out. I found it difficult to intuitively change settings while looking through the viewfinder but then I'll chalk that up to having only fired off 200 frames on the Hassy vs. tens of thousands of frames on Canon and Nikon bodies.

When shooting on the run I like to work on Automatic in Aperture Priority mode. This way I can visually determine the tonal values of a scene and quickly dial in an exposure adjustment then let the camera do the work. With most dSLRs this involves just rotating a wheel with your thumb while shooting but with the Hassy I had to reach over the hand-grip and push a button the +/- exposure control button which is on the right side of the viewfinder prism then rotate the top wheel with my index finger. However I'm sure this operation will become second nature after a few thousand exposures. The +/- exposure control button also allows the user to change exposure mode.

Ah! Fix for finicky focusers.


The True Focus button, below that the Formatting and AE-Lock buttons. To their left the Exposure Type and Exposure Compensations buttons.

The next learning curve I had to surmount was the use of True Focus™. Since the advent of through the lens metering and auto-focus we photographers have learned to center the subject in the viewfinder and lock the focus and exposure by pressing the shutter button halfway then re-frame and shoot.

The problem with this system is that dependent on the lens you're using and the distance to the subject the focus plane may fall behind your subject when you re-frame. This is a serious problem at larger apertures with shorter lenses.

True Focus™ works with a tilt-yaw sensor and a computer program that would put your trigonometry professor out of work. For a single-shot you press the True Focus button with your thumb, lock in the focus then re-frame and shoot. You can also set the True Focus to work with every shot in the auto-focus settings panel. Another feature that took some time to learn mostly due how sensitive the exposure button is.

Regarding focus Hassy wins with their auto-focus override. All you do is refocus the lens like a manual camera and shoot and if you prefer to shoot manual focus you're free to turn auto-focus off completely. And while I'm talking focus, the H4D prism (with diopter adjustments) is the brightest Hasselblad viewfinder I've ever had the pleasure to use!

The proof is in the pixels.

Sensor technology is proscribed by the size of the photosites. Photosites are the individual pixels in the sensor. The smaller the photosite the more of them that can be crammed onto a sensor but the larger the photosite the higher the color fidelity.

The 40-megapixel back has 40 million of these little buggers on a 33.1mm by 44.2mm CCD sensor that provides exceptional color fidelity, similar to moving up to 6x6 medium format from 35mm format cameras.

But again I must complain; yeah the files are great, but over the years I and many other Hasselblad devotees have been in love with the 6x6 square format. And I understand that most commercial images are used in rectangular format but why not build a square sensor and let us decide to crop or present square images? That's just my two-cents worth.

Shot with the H4D-40. ISO 200. 1/400 Sec. @ F7.1

What's with this f*%&ing .3FR and .fff file?

As with every camera manufacturer these days their ego is too large to dare share a common high quality raw file format. I won't go into the politics of file formats here but lets just say something needs to be done.

The Hasselblad comes with Phocus software which (on Mac) needs and Intel-based chip, at least 2-gigabytes of RAM and a substantial video card to run properly. And you must use the Phocus software to open the files and/or shoot tethered (more about tethered shooting later).

Since I've upgraded to Photoshop 5.1 I've had no trouble moving files from Phocus to Photoshop. I also understand that the .3FR files will also open in the latest version of Apple's Aperture or Adobe Lightroom and I'm sure you'll be able to shoot tethered with the latest version of Capture One.

When starting up Phocus the software creates a folder on your hard drive in the Pictures directory called Phocus Captures, which is where you'll find you images. You connect your CF card to the computer and import your .3FR files. Then, after the first edit (or not) you double-click and they're converted to .fff files. From that point you can adjust each image individually or in batches after which you can export as a jpeg, 8-bit or 16-bit Tiff files.

As with all raw files from any camera I needed to adjust the curve, white and black points but after that the files were crisp to the point of amazement! I have never been happier with a digital image file than with these files exported from Phocus!

Don't tread on my tether!

Tethered shooting/portrait of Rose. Shot with H4D-40 and @210mm lens.
Lighting from one SunPak Digitflash Light Panel synched with a MicroSynch radio slave.

The latest trend in commercial photography is tethered shooting. For you neophytes and knaves, that is where the camera is connected directly to the computer during the shoot. The photographer can work and the images are downloaded as he shoots plus the technician at the computer can control the camera remotely. This is great for still-life work but for fashion and portraits I get annoyed at people looking at the computer and making comments as I work.

Phocus also provides for live view at the computer so the art director and your staff can offer their comments while you shoot. But remember that they will also see every misapplied True Focus attempt and blink captured in error. Which is why I despise tethered shooting. It's much worse than having someone look over your shoulder while shooting with the added annoyance of them stepping on your cord while walking through the studio! (As Jason Schneider did to me numerous times while working on this article!)

All kidding aside the H4D works excellently while tethered. When tethered to the computer the DCU (Digital Capture Unit) AKA Camera Back derives power directly from the Firewire port thus increasing battery life. At the same time the software updates/synchronizes the time stamp so you'd better make sure that is set correctly on your PC! However it does not save a copy of the file to the CF card so your only captures are the .fff files in Phocus.

I did come across a great gadget for tethered shooting that works on any digital camera. Called TetherLock it prevents damage to your tether and/or port by clamping the cord to the camera's base-plate and is available for $99 from ProGear at 1740 W. Carroll Avenue in Chicago or online at ProGear.com. A TetherLock will definitely prevent you from being "Schneidered!"

In closing, since I've already made the camera/vehicle comparison in the beginning here's another; the Hasselblad H4D-40 has a one-year or 100,000 exposure warranty.

A Thousand Frames Later...

OK, I've fallen in love with my Hassie, much like when I handled my first Hasselblad back in '73 the relationship took a little time and patience. When I first fiddled with the controls on the H4D my hands fumbled like a teenage boy's engaging his first make-out session. Today my fingers find their way comfortably around the battery grip and manipulate exposure and focus controls like... (just too many metaphors come to mind just insert one here based upon your own sensibilites).

One of My Favorite Things...
"Look Ma; No Dust Marks!"

I hate sensor artifacts. You know those little blotches from condensation and/or dust that only appear in clear blue sky, white or grey backgrounds and take hours of work to retouch. Sensor marks were the bane of my existence when shooting with the Canon 5D as I like to shoot on white. And cleaning the 5D sensor required the both the hands of a surgeon and the sterile environs of an operating room. I have even heard horror stories from shooters who shipped their camera off to have the sensor cleaned only to have it returned with more dust on it. The H4D-40's sensor is sealed behind a glass infrared filter, the key word being sealed. Which is why the best feature of the H4D series is the sensor on the Digital Capture Unit. And if you need to blow the dust off the filter or wipe with a micro-fiber cloth just go right ahead and do it.

And let's say that you get back to your studio and find some dust spots, Hasselblad's latest Phocus 2.6.2 software allows you to memorize them and add the same spotting to each image from the shoot.

View of NYS Route 6 going through Harriman State Park near Bear Mountain. Shot with the H4D-40 and 80mm lens. ISO 100, 1/200 Sec. @ F8.

Hey, It's Only Money!

Not every photographer can or should justify the twenty thousand for a forty-megapixel wonder (or $29,000 for the 50-megapixel H4D-50) especially when you can buy an under-$1000 dSLR that provides substantial sized files. Files plenty large enough to produce a wedding album and/or full pages in most magazines.

There are photographers who will argue the benefits of larger files sizes. I don't buy any of those arguments. As far as I'm concerned there are indisputable benefits to larger files. Large prints and double-page spreads in particular.

In Closing.

It takes more work to shoot with a medium-format dSLR than a 35mm-style dSLR. The focus is slower, the camera weighs more and the costs, oh the costs! Lenses especially.

Then again, thirty-five years ago I was trekking through Death Valley with a Linhof Super-Teknika four-by-five with all the requisite lenses, film holders and tripod (a thirty-pound Gitzo Tele-Studex, the same unit I'm trekking around with the H4D!). I didn't complain about it then and won't complain about the Hasselblad now.

When you start using a different format, be it digital or analog, you have to change your shooting philosophy. Thirty-five millimeter style shooting allows for hand-held multi frame bursts that require either fast thinking or no thinking while medium format requires planning and forethought. Having said that I have to admit I've been carrying around the H4D for my on-the-spot shooting.

Update: Hasselblad has released a new version of Phocus that removes some bugs and works faster but best of all is the companion program Phocus Quick which automatically converts the .3fr files to either DNG (Adobe Digital Negatives) or jpegs and it initializes upon insertion of the CF card.

Two Special Editions of the H4D-40:
The Ferrari Edition

and the H4D-40 Stainless Steel Edition.

For more information visit HassyUSA.

Olympus Harley-Davidson Camera Case

2011-05-26T11:31:00.000-04:00

So you rode your Fat Boy™ to the races and forgot to bring your point-n-shoot?

This product will solve your problems and match your t-shirt!

The Olympus Harley Davidson Classic Case (Black with Flame Accent) is a leather case with an orange suede lining. It is designed to carry most Olympus point and shoot digital cameras plus many mobile phones, smart phones or MP3 players. All held in place with a magnetic snap plus it has a small pocket inside for extra memory cards because who know how many gals will be flashing you?

Exterior Dimensions 4.75 x 3.0 x 1.5" (HxWxD)

Interior Dimensions 4.5 x 2.75 x 1.25" (11.43 x 6.99 x 3.18cm) (HxWxD)

Happy Rapture

2011-05-21T15:09:00.009-04:00

1:30PM May 21. 2011 - My wife and I were out doing our walk around Rockland Lake State Park when we came across these folks. It took a little convincing to pose them but they figured no-one was going to be around to see the images. I just hope they're wrong and we can enjoy this for years to come.

BTW-today was the first real summer day we've had. My wife's face is all red and I've got a sunburn on the back of my neck. Of course, none of this will be a problem tomorrow...

UPDATE: at about 6:15 we had a torrential rain squall pass through and then there was a rainbow. Since this spot is only a little more than a mile away I drove back to re-shoot with (hopefully) the rainbow and better fill-flash but they were GONE, camper and all!

The Battle of F-Stop Ridge

2011-05-20T14:16:00.002-04:00

I love to see a sense of humor in ads!

Think Tank Photo to Release Redesigned Bags in New Speed Convertible Series

2011-05-16T16:06:00.014-04:00

--Direct from ThinkTank Photo--

Santa Rosa, Calif. – In June, Think Tank Photo will release its redesigned Speed Demon™ V2.0, Speed Freak V2.0™, and Speed Racer™ V2.0 as shoulder bags in its new Speed Convertible Series. Each Speed Convertible bag features a “disappearing” belt that tucks away into the sides of the bag, significantly reducing bulkiness. Within seconds, the shoulder bags seamlessly convert into belt packs once the integrated belts are deployed.

Features include a flip-top lid that folds away from the body for rapid and convenient access to gear. A fully padded shoulder strap with embedded non-slip material is included, which also supports the bag while in belt pack mode. The soft kidney-shaped design contours comfortably around the body. Built-in Modular rails allow attachment of Think Tank’s Modular, Skin or Multimedia components.

Not only can photographers choose how to carry their bag, they can also select the right capacity between the three sizes in this series. The smallest, Speed Demon V2.0, can carry a standard size DSLR with a standard zoom lens attached (hood reversed) and a wide angle zoom lens beside. The medium size Speed Freak V2.0 also carries a standard size DSLR with a zoom lens attached and is tall enough to accommodate a 70–200 f2.8 lens in the bag. The Speed Racer V2.0, the most spacious of the series, effortlessly fits in the main compartment a pro size DSLR with a standard zoom lens attached and a 70–200 f2.8.

Gear Profiles

Speed Demon V2.0: Carries a standard size DSLR with two to three small zoom or prime lenses

Canon EOS 60D with 17-85 f4-5.6 IS attached (hood reversed) and 70-300 f4-5.6 IS beside
Nikon D7000 with 35 f1.4 attached and 50 f1.4; 85 f1.4 beside

Speed Freak V2.0: Carries a standard size DSLR with two to three large zoom lenses

Canon 5D Mk II with 24-70 f2.8 attached (hood reversed) and 70-200 f2.8 IS beside (hood reversed)
Nikon D700 with 14-24 f2.8 attached and 70-200 f2.8 VR beside (hood reversed)

Speed Racer V2.0: Carries a pro size DSLR with two to three large zoom lenses

Canon 1D Mk IV with 16-35 f2.8 attached (hood in position) and 50 f1.2; 85 f1.2 beside (hoods reversed)
Nikon D3 with 24-70 f2.8 attached (hood in position) and 70-200 f2.8 VR beside (hood reversed)

Key Features

Easily converts from streamlined shoulder bag to functional belt pack
Integrated waist belt "disappears" by tucking into zippered size pockets
Modular rails on waist belt for adding Modular Rotation System components to increase gear capacity
Flip-top lid opens away from the body for rapid access to gear
Cushioned, non-slip shoulder strap included
Ergonomic, kidney-shaped design contours around body
Easily accessible front organizer pocket
Stretchable mesh side pockets with reinforced bases
Highest quality YKK RC Fuse zippers
Seam-sealed rain cover included

Product Specifications

Speed Demon V2.0

Internal Dimensions: 9.3” W x 6.8” H x 5” D (23.5 x 17.2 x 12.7 cm)
External Dimensions: 12” W x 8.5” H x 8” D (30.5 x 21.6 x 20.3 cm)
Weight: 1.6–2.1 lbs (0.7–1.0 kg)

Speed Freak V2.0

Internal Dimensions: 10.3” W x 8.8” H x 5.5” D (26 x 22.2 x 14 cm)
External Dimensions: 12.5” W x 10.5” H x 8.5” D (31.8 x 26.7 x 21.6 cm)
Weight: 1.9–2.5 lbs (0.9–1.1 kg)

Speed Racer V2.0

Internal Dimensions: 11.8” W x 10” H x 7” D (29.8 x 25.4 x 17.8 cm)
External Dimensions: 12.5” W x 10.5” H x 10” D (31.8 x 26.7 x 25.4 cm)
Weight: 2.3–3.1 lbs (1.0–1.4 kg)

If you'd like to be first on the list to order one of these great bags then click HERE and sign up!

How Film is (was?) Manufactured; a 1958 Kodak Documentary

2011-05-12T10:55:00.000-04:00

Here's a film in two parts on how film is made. Totally classic and a must-see for you younger shooters!

My lawn bunnies see their shadow!

2011-02-24T13:37:00.006-05:00

Almost three weeks past Groundhog Day and all I can say is, "The hell with Staten Island Chuck and Punxatawney Phil." My lawn bunnies here in Valley Cottage haven't seen daylight since before last year's holidays! Yesterday they saw their shadow and I captured this image.

Kodak Kodachrome Motion Picture Test

2010-03-05T07:37:00.003-05:00

This is some of the earliest color motion footage that you will ever see.

How to Finance a New Camera: Take Photos in NYC

2010-02-10T13:50:00.002-05:00

Beware of Counterfeit Battery Packs!

2010-01-29T09:56:00.005-05:00

As more and more cameras are using rechargeable batteries the market for knock-off batteries has exploded.

It has come to my attention that counterfeiting of battery packs has become a serious problem for both manufacturers and consumers. A knock-off battery pack may save you money but, at the very least, may not carry a charge or last as long as an OEM (Original Equipment Manufacturer) pack. Worse yet, it could catch fire!

Here is a guide from the Camera Imaging and Products Association that will help you identify counterfeit battery packs.

Use the links below for information from specific camera manufacturers:

Casio
Canon
Fuji
Nikon
Panasonic
Pentax
Ricoh
Olympus
Sanyo
Sony

A 60 Second Video Every Photo Enthusiast Should See

2010-01-16T08:50:00.002-05:00

How to Lose Your Camera But Find Your Photos

2010-01-15T16:27:00.004-05:00

Loss is one of the most difficult emotions to deal with. According to the psychology of loss, the pain of losing $100 hurts a lot more than the pleasure of finding, earning, or winning $100.

The emotional pain of losing your photos hurts a lot more than losing a hundred bucks. Photos can’t be replaced. You can’t re-stage a wedding, you can’t repeat those wonderful moments on vacation and you certainly can’t dig up your deceased relatives for a photo op. (Well maybe you could…but you’re asking for trouble.)

Disaster experts suggest that you keep your photos in one box that you can grab in an emergency. But what do you do if you’re just as dumb as I was and leave your camera somewhere and walk away?

My wife and I were leaving Las Vegas after a week of fun for her and work for me. I was there to cover a convention and she was tagging along on my frequent flier miles.

As we loaded our luggage into the taxi I kept the bag with my still cameras, video gear and exposed MiniDV tapes next to me since it was the most valuable piece of luggage I had.

The cab driver was a great guy and the three of us enjoyed animated conversation. My wife and I learned that he was an Iranian expatriate who came to the United States for a better life. He was profoundly saddened by the changes in his country and admitted that he rarely told his passengers that he was from Iran. At the airport I tipped him adequately and he gave me a blank receipt.

Curbside I did a quick count of my bags. One was missing. A recount verified it. I asked my wife to count again. Of course, the camera bag with the videotapes from the shoot and my most expensive camera gear was missing. And the taxi was nowhere in sight. I fought my instinct to panic.

My wife checked our remaining luggage while I went to the taxi dispatcher. I couldn’t identify the cab because he was an independent. And the receipt he gave me was generic. No one in authority at the airport could offer help or suggestions. I cursed myself for losing the bag. I envisioned the cabbie selling my photo gear. I worried about how would I explain it to my client? My heart was beating faster. I started to panic.

The truth is that despite expecting the worst from our fellow humans most people will try to return a lost item of value to its rightful owner. But in order for it to be returned the finder needs to know whom it belongs.

I read a story in a London newspaper on just that topic. Some British scientists did a study of lost wallets. They left wallets around London to see how many would be returned and an interesting statistic arose. Wallets that had baby photos in them were returned at a higher rate than those without.

What does this have to do with losing your camera?

Its difficult to write your name and address on your camera and hang tags can be lost easily but the truth is that you’re probably ready to chalk the camera up as a loss but you’d sure like to get your photos back.

This is what you do:
1) Get a piece of poster board and a marker.
2) Make a sign with your email address on it and maybe your other contact information.
3) On the first frame of every memory card take a photo of your children (or as I did, someone else’s children) holding that card.

After you download your memory card and erase the images you can shoot another photo or if you use a card reader just upload the same picture to your card.

Some cameras allow you to choose the image to use on the start up screen. Choose the image with your information.

Whoever finds your camera will undoubtedly look through your photos and hopefully contact you.

What happened to the lost bag from my Vegas trip? As I nervously paced the loading zone at the airport I saw my bag coming toward me in the distance, above everyone’s head. It was the Iranian car driver running toward me holding my bag high in the air.

He told me that we were his last ride of the day and when he got home he noticed my bag tucked between the seat and the sliding door of his minivan cab so he immediately drove back to the airport to find me.

As I said, most people will try to return a lost item of value to its rightful owner.

For a humorous take on this same topic you might want to visit photographer Andrew McDonalds blog.

If you've already lost your camera you might want to look at the Found Cameras and Orphan Pictures site.

Thanks to my models who shall go nameless at the request of their mommy and thanks to Barry Koch for the wonderful artwork on the placard!

Leica D-Lux 4 Anti-Shake Ad

2010-01-07T15:37:00.005-05:00

You just have to love how this ad for the anti-shake feature in the Leica D-Lux 4 makes the point!

Canon Announces Redesign of Most Popular 70-200mm f/2.8

2010-01-07T05:43:00.000-05:00

CANON MAKES THE BEST EVEN BETTER,

WITH THE INTRODUCTION OF THE

SECOND GENERATION EF 70-200MM f/2.8L IS II USM LENS

Canon's New EF 70-200mm f/2.8L IS II USM Incorporates Advanced Lens Elements and Enhanced Durability for High-Speed Autofocus and High-Performance Optical Image Stabilization

Lake Success, N.Y., January 5, 2010 – Canon U.S.A., Inc., a leader in digital imaging, introduces the new EF 70-200mm f/2.8L IS II USM lens. Arguably the most popular focal range in Canon's telephoto arsenal and a staple lens for any professional photographer, the EF 70-200mm f/2.8L IS II USM lens provides the focal length, maximum aperture and zoom power for capturing everything from fast-action sports to studio portraits. Built for the professional, the body structure of the new EF 70-200mm f/2.8L IS II USM lens has been enhanced to provide better durability and strength without a significant increase in weight. Canon has improved optical performance on the new EF 70-200mm f/2.8L IS II USM lens by redesigning the internal elements, incorporating a fluorite element and a fifth UD element. The use of the fluorite element and five UD elements helps to minimize secondary chromatic aberrations and produce better image quality with improved contrast and resolution through the entire zoom range; the end result is an optically precise lens worthy of becoming the leader of Canon's L-series lenses.

Along with its redesigned optical elements, the new lens design features improved AF speed due to a new focusing algorithm and has reduced the minimum focusing distance to 3.9 feet (1.2 meters) through the entire zoom range, allowing photographers to capture tighter portraiture shots in a small studio space. The previous lens model's minimum focusing distance was 4.6 feet (1.4 meters), whereas now photographers can stand nearly 8 inches closer to their subject and achieve sharp focus and tight crops. Canon has also enhanced the Image Stabilization allowing it to compensate for shutter speeds up to four steps slower than 1/focal length, a one step improvement over the previous lens model.

"Canon's core has always been our optics, and we are constantly challenging ourselves to produce better and more advanced optical systems for our customers. The new EF 70-200mm f/2.8L IS II USM lens incorporates the best advancements in Canon lens technology from the past few years and packages it into what we believe will be the most popular lens for professionals and advanced photographers," stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The enhanced magnesium alloy barrel design of the EF 70-200mm f/2.8L IS II USM lens features added strength with a minimal 20-gram increase in weight compared with the previous model (1490g vs. 1470g) and retains Canon's protective seals and fittings providing dust and water resistance for those photographers working in adverse conditions. A new bayonet mount on the front of the lens includes a locking mechanism to ensure the supplied lens hood remains securely in place. Other noticeable improvements include a wider focusing ring, and sleeker design by reducing the thickness of any protruding elements such as the switch panel. The new lens is also compatible with Canon's existing EF1.4X II and EF2X II Extenders as well as EF Extension Tubes and the 77mm Close-Up Lens 500D.

Pricing and Availability

The Canon EF 70-200mm f/2.8L IS II USM lens is supplied with a detachable tripod collar, a reversible bayonet mount lens hood and a lens pouch. The new lens is scheduled to be delivered to U.S. dealers in April, price to be determined.

Why I call the blog "Mark Focus"

2010-01-06T11:04:00.000-05:00

My favorite movie from the 60s is Putney Swope, its a dark satire about an ad agency that is taken over by the one black guy on the executive board. This is one of my favorite scenes, and why I named the blog Mark Focus. (Also and excellent illustration as to why you should NEVER work for free!)

Live From New York It's...

2010-01-06T10:10:00.003-05:00

The line that distinguishes still from video cameras is blurring.

Since the digital age subverted film, the real difference between a video camera and a still camera was merely the external shape of the camera. Now even that has changed, or been rendered moot.

Internally digital still and video cameras accomplish the same mission. Light travels through a lens and hits a sensor, which converts the information into electrons, and then a computer processes that information and records it onto a memory device.

Most point and shoot digital still cameras have afforded the option of making short video clips for many years but the ability to make serious hi-definition video with sound has eluded the manufactures. That is, until now.

The advent of high-speed large capacity memory cards and multi-megapixel sensors has opened the door for camera designers to create still cameras that can record video with phenomenal quality.

This was proven recently as the new season of NBC's Saturday Night Live debuted not only with an a new cast, but with a new look for the opening title sequence shot using Canon EOS 5D Mark II and the new Canon EOS 7D digital SLR cameras.

(above) The New Canon 7D

According to the Canon press release: The creative concept behind the opening sequence was "portraiture". The director and crew looked to capture "living" portraits of the City, illuminating the cast and the unique characters that make up the New York City nightlife.

SNL Crew shooting outdoors at night.

The crew wanted to capture the city nightlife in as natural a look and setting as possible. This meant minimal additional lighting, and making those on-camera feel comfortable to act naturally. Their solution was to use the video capabilities of the Canon EOS 5D Mark II and Canon EOS 7D Digital SLR cameras.

The SNL Crew shooting in a NYC bar.

Both machines offer amazing low-light performance, small form factor, extensive choice of lenses, some providing superb depth-of-field. A combination that enabled the crew to shoot in predominantly ambient light thus avoiding big lighting gear and the additional manpower needed to operate and power it. Another added benefit; the crew also found it easy to covertly shoot around the city without drawing a crowd.

Filming at night, the new stars of the hit TV show were shot in various New York City hotspots by a small crew discretely capturing the cast as they participated in select New York happenings. The entire segment was captured and edited in a week's time, incorporating 30p footage from Canon's 5D Mark II as well as 60p footage used for slow-motion segments shot with Canon's EOS 7D Digital SLR camera.

The SNL crew viewing a take.

The end result was that the cast and crew were able to shoot in any location - from the Brooklyn Bridge, which has limited ambient light, to a dimly lit street corner, to a more controlled bar interior - using only an on-camera Litepanels MiniPlus for most of the exterior shots and two Kino Flo lights for an interior shot that required some illumination enhancement.

Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. stated, "We have seen a shift in HD video capture toward a simpler and easier HDSLR workflow, and now with the EOS 7D shooting in standard NTSC and PAL frame rates, customers are realizing an even easier HD video workflow, using some of the largest HD video image sensors on the market at a fraction of the cost of competitive equipment,"

The Canon EOS 7D and EOS 5D Mark II empower cinematographers with a high-quality HD video solution featuring full manual exposure control and more than 50 Canon EF lenses to chose from, shooting on two of the industry's largest HD video sensors. The EOS 7D also features selectable cinematic frame rates. The EOS 7D features Dual DIGIC 4 Imaging Processors and a large APS-C-sized CMOS sensor, while the EOS 5D Mark II features a single DIGIC 4 Imaging Processor and larger Full Frame CMOS sensor, helping to render stunning color reproduction, amazing depth of field and fine high-definition detail.

The Canon EOS 7D records video in one of three modes - Full HD and HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio, all at selectable frame rates: Full HD at 1920 x 1080 pixels in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); 720p HD recording at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94). The EOS 5D Mark II features 16:9 Full HD video capture at 1920 x 1080 pixels and 30 fps as well as 4:3 standard TV quality(SD) video capture at 640 x 480 pixels and 30 fps. The EOS 5D Mark II features 16:9 Full HD video capture at 1920 x 1080 pixels and 30 fps as well as 4:3 standard TV quality (SD) video capture at 640 x 480 pixels and 30 fps.

Both cameras record video up to 4GB clip length, depending on the level of detail in the scene, a 4GB clip can record approximately 12 minutes of video at full HD resolution or approximately 24 minutes in standard definition. For both the Canon EOS 7D and EOS 5D Mark II, sound is recorded either through an external stereo microphone or a built-in monaural microphone.

Since Saturday Night Live has taken the leap I'm sure other filmmakers will follow suit. And as this is only the first generation of these hybrid machines one can only imagine what we're in store for in the future.

***

I'd like to add that while it is news that NBC's Saturday Night Live has chosen Canon to shoot their new intro, the first person to produce a short film with the Canon EOS 5D Mark II was photojournalist Vince Laforet. Watch it below.

***

The New York Times Agrees with Me!

2010-01-05T10:09:00.000-05:00

In a previous post I called the Samsung DualView on of the innovations of the year. It seems that I'm not alone. the venerable David Pogue, New York Times tech guru and author of The Missing Manual series of how-to books is of the same opinion. You can read it here on NYTimes.com. While I disagree with him on his assertion that the picture quality is lacking, its still nice to have my opinions affirmed.

I'm a featured photographer on LeicaShots.com!

2009-12-31T10:54:00.000-05:00

Check out the page at: Leica Shots

Nikon: Out of This World!

2009-12-30T10:07:00.003-05:00

In advertising, testimonials carry a lot of weight.

As proof, take a look at the demise of Tiger Woods’ revenue since his recent dalliances became public. Not only has his income from endorsements taken a hit—it’s been estimated that the value of the companies he stumped for have dropped nearly twelve billion dollars. That’s billion, as in one thousand million. We’re talking nine zeros! That’s a lot of scratch! Perhaps even the cost of a space shuttle mission.

When I was a kid the sports heroes of the day were Mickey Mantle and Roger Maris, however these baseball sluggers were eclipsed by a few heroes of greater proportion: The Astronauts.

Today, space exploration has become commonplace with Space Shuttle launches and landings garnishing just a few minutes on CNN. Back in the day, whenever a rocket was launched from Cape Canaveral my family would join the entire nation as we sat in front of our black and white televisions watching Walter Cronkite narrate history, and if the launch was during school hours the teacher would have one of the AV nerds roll a television into the classroom.

And for breakfast we drank Tang, because the Astronauts did!

A vintage Tang Ad featuring the Gemini capsule

Today, despite graduating from corn flakes and Tang to Irish Oatmeal (or a spinach and cheese omelet ...yum!) and fresh-squeezed orange juice I still enjoy the thrill of a rocket launch. I thank the space program for the technical advances that allow me to sit at a laptop computer and share my thoughts with you.

So you can imagine my elation when I learned that the National Aeronautics and Space Administration placed an order for eleven Nikon D3S dSLR cameras, along with seven AF-S NIKKOR 14-24mm f/2.8G ED lenses. According Nikon and NASA press releases these imaging devices are to be used for photographic documentation. (Duh?)

The Nikon D3s

The Nikon D3S cameras and NIKKOR lenses will be launched into space via the Space Shuttle. Upon arrival at the International Space Station (aka ISS) they will be used for various photograph activities. Nikon notes that NASA will make no special modifications to the cameras or lenses. These new bodies and lenses will be used right along side the existing Nikon dSLR cameras and accessories that already reside on the ISS, which include Nikon D2Xs dSLRs, and several Nikon speedlights.

Nikon has a long history with NASA:

In 1971 the Nikon Photomic FTN (specially designed to NASA specifications) was used on Apollo 15.

In 1980 NASA commissioned a "Small Camera", based on the Nikon F3 equipped with a motor drive, and an F3 "Big Camera", which utilized long rolls of film thus avoiding the need to reload. The "Small Camera" was also used aboard the Space Shuttle Columbia launched the following year.

In 1991 Nikon F4 and F4S cameras were delivered to NASA.

In 1999 the a Nikon F5 and AF Nikkor lens were carried aboard the Space Shuttle Discovery to photograph extravehicular activities. (Spacewalking!)

In 2008 the first digital SLR cameras were delivered to NASA. Six D2XS cameras are used in space to document activities such as inspection and maintenance.

According to NASA and Nikon approximately about 15 types of NIKKOR lenses (more than 35 lenses all together) are kept aboard the International Space Station for intravehicular and extravehicular photography to provide continued support for NASA's space activities.

So what does this mean to you the average earth-based photophile?

The same thing that Tang meant to me as a kid!

I’m jealous. Not only do the astronauts have a great job with a killer view, they get to use the best photo gear on earth, and supplied in copious quantities!

However I did stop and think about the needs of an orbiting photographer verses the needs of the rest of us. The astronauts are getting the Nikon D3s, a weather-sealed dSLR with full-frame 35mm CMOS 12.1 megapixel sensor. It will also shoot 24 frames per second 720p video and had slots for two memory cards. The D3s also offers a feature called “Live View” which allows the unit to be tethered to a computer and operated remotely. That’s a lot of camera and it ought to be since the price tag of five-plus large! Without the lens!

If you don’t need to shoot video and you realize that 10 megapixels are more that adequate I personally would chooses a Nikon D3000 which you can buy with a lens for 10% of the cost and you can still feel a kinship with our space explorers.

My Holiday Wish List

2009-12-21T10:05:00.001-05:00

Whenever I read a write-up on a photographic accessory I always wonder about the motivation of the writer. Did he just get one of these do-dads for himself? Was the spiffy item a gift from the manufacturer in exchange for the embedded kudos?

Those are the thoughts that go through my mind when I read articles and reviews. Why shouldn't you think along similar lines? I wouldn't blame you. So here's the real deal about this posting: Being somewhat of a photo-nut I hear about lots and lots of photo-gizmos and gadgets. You should also be aware that having had the opportunity to play with so many cameras, lenses and accessories I've become numb to marketing hyperbole. Therefore... all the accessories I'm going to mention below are: THINGS I REALLY WANT!

MEMORY CARDS

First on the list are memory cards. Memory cards are the new "film" and as much as you can never have enough film, you can never have enough memory cards. If you've ever seen that dreaded, "Card Full" prompt on the LCD screen of your camera you know what I mean! Each year manufacturers of memory cards push the limits of storage. Merely a few years ago cameras would come with cards that were measured in megabytes, today cards that hold 32 gigabytes and more have become commonplace. So there is no excuse to run out of memory.

The coolest thing I've seen on the memory card front is the Eye-Fi card. Sold in 2 and 4-gigabyte models for still and video photography, the Eye-Fi marries a Wi-Fi transmitter with a memory card! Unfortunately they are available in SD format only and not Compact Flash.

Eye-Fi cards store photos or video just like a traditional SD memory card, and even look like one. But they save time and make sharing easy through using your Wi-Fi network by automatic and wireless uploading of photos and videos from your camera to your computer or an online sharing website. You can even choose to upload only selected media, or all new media.

The Eye-Fi card comes in various models with various features. The models are named; Home, Share and Pro. By using the Eye-Fi Home card, you can upload photos wirelessly from your camera to your computer (Mac or PC). Mac users can upload directly to iPhoto. No cables. No hassles.

With the Eye-Fi Share card, you can also wireless upload photos to your computer and you can also share your photos with friends and family with effortless uploading to Flickr, Picasa, Facebook, or to one of over 25 other sharing, printing or social networking websites. Eye-Fi Video cards offer the same ease of uploading video and will also handle still photographs. And the Eye-Fi Explore Video card also gives you access to a lifetime of geotagging, and one year of Hotspot access. So you don't even have to be near your computer.

I have a friend in Chicago whose cable provider allows him to connect his television to Flickr and run a constant slide show of his photos. I imagine that with the Eye-Fi card he could have a party, photograph his guests during the party, and his guests could view his photos as they are shot. Very cool tech!

ACCESSORY FLASH

Nearly as annoying as running out of memory is running out of light. Photography is all about light and sometimes there just isn't enough of it. When you're faced with that situation adding some more light is the only solution.

There aren't many choices when you need more light. You can either turn on some room lights, or add a flash. A surprising number of camera's have built-in flash units. Some do not. I, of course, own a flash-free DSLR. Which is where the problem arises. Every camera manufacturer, Nikon, Olympus, Canon, Pentax et al, use different connections/systems for the flash unit to communicate with the camera's exposure computer. So you must buy a unit which mates to your particular camera. You're not limited to the flash made for your camera there are many other brands that will do the job just make sure that you're buying the unit for your particular brand of camera. And don't forget extra batteries.

TRIPODS

Regardless of the camera you have, compact, DSLR or video, if you don't have a tripod you need one. Back-in-the-day the rule for tripods was "the heavier-the better". That is no longer the case unless you're a serious professional working in extreme lighting conditions.

As a snap-shooter you need a tripod for one main reason: to place yourself in the photo. You used to be able to place a camera on a stack of books or use a beanbag to get that shot but today's compact cameras are loath to stand by on their own. They're either too small or oddly shaped. I suggest that everyone that owns a compact digital camera buy a compact tripod like this pocket tripod.

If you're shooting video the main reason for a tripod is to stop camera shake, especially if you're using the long telephoto setting on your zoom. If you're shooting mostly video I'd also recommend a "fluid" head tripod. The fluid head is like having a tiny shock absorber in he tripod so as you pan and tilt the tripod smooths out the motion. You might also consider a fluid head tripod if you're shooting a lot of video with your still camera.

The Camera of the Year, Perhaps the Decade!

2009-12-09T10:02:00.001-05:00

When I was first interested in photography the major bell ringing, jump for joy, scream from the hills innovation was through the lens metering on single lens reflex cameras. No longer did the photographer have to read a hand-held meter then transfer the exposure settings to the camera. All he had to do was match two metering needles in the viewfinder or align one needle in a slot by adjusting shutter speed and/or F-stops.

Since then digital has surpassed film photography faster than anyone predicted, spurred on by improvements in chip manufacturing, sensor design and personal computers. And today's digital cameras offer myriad features to make personal and professional photography successful and satisfying. We have certainly come a long way.

Samsung gets my personal kudos for introducing the most innovative cameras of the decade, let alone the year. Going by the innocuous but accurate title of DualView, model numbers TL220 and TL225.

These innovative compact digital cameras feature Dual LCD screens, with a 1.5-inch LCD on the front of the camera, and a second one on the back of the camera. Giving you the ability to shoot a self-portrait without trial and error framing. I'll admit that there are a few high-end digital SLR cameras that have swing-out LCD screens allowing self-portraits but the DualViews are the first consumer level units to offer this feature built into the chassis. And both DualView models offer 12.2 mega-pixels resolution, which rivals some of the best DSLRs.

Innovation doesn't end there. Take a look at the camera and you'll notice a distinct lack of buttons. There is an on/off button and the shutter button. The camera's controls are set on the touch screen; actually both touch screens.

If you want to shoot a self-portrait for your Facebook or MySpace page then just tap the front LCD and the camera will set itself to self-portrait mode. But that is not all it does.

Those picture-wise engineers designed a few spiffy idiot-proof features into these cameras. First is Samsung's Perfect Portrait System, which takes the guesswork out of shooting portraits. The key features of this system are Samsung's Smile Shot and Blink Detection. These cameras automatically detect when your subjects are smiling, and if their eyes are closed. THEN SHOOT THEPHOTO FOR YOU! Which, by the way, is really nice when you're framing at arm's length while looking at the inch-and-a-half LCD.

What if you're not steady enough to hold the camera at arms-length? No problem! Both DualView models offer Advanced Dual Image Stabilization (also known as IS), a technology that allows you to capture blur-free images. Dual IS combines both Optical and Digital Image stabilizers to produce sharp images. The Optical IS intelligently compensates for hand trembling by shifting the lens in the opposite direction. Not that you even need to know how its works, just that it does. And when the Optical IS isn't quite enough, the Digital IS automatically takes over to ensure blur-free images.

So imagine that you're in Paris during early spring and its cold up on the observation deck of the Eiffel Tower. Your fiancé has just put that ring on your finger and you want a photo of the moment. You're trembling with excitement while shivering from the cold and you don't speak French. No problem! Tap the front LCD, frame and shoot. Not only will the dual IS system guarantee sharp photos but the 27mm Schneider-KREUZNACH 4.6x zoom optics (read: GREAT LENS MANUFACTURER!) will allow you to frame your life-changing moment with the entire Parisian vista. And it gets even easier!

Let's review because this is so amazing even to my photography-jaded mind I need to go over it again: once the camera is on, a simply tap on the front LCD and the camera is automatically set to Self Portrait mode with smile detection. This means that when you want to take that self-portrait, you only need to tap, frame, then smile. The picture will be taken automatically without pressing the shutter button. Samsung calls that feature the Smart Gesture User Interface (UI) with built-in Gravity sensor.

You would think that Dual LCDs, killer sharp optics, 12.2 mega-pixel resolution and touch screen controls would be enough but there's more, lots more.

When you photograph children the camera can show a Smiley Face, personally I'd prefer a tweeting birdie!

Samsung's Smart Face Recognition technology will memorize up to 20 faces and adjust the focus and exposure to the most high-ranked faces on the camera. This allows you to sort images by registered faces and scroll through to find images of people in your Smart Album instead of viewing every single photo.

With Samsung's Beauty Shot feature you can remove all the imperfections on your subject's face such as wrinkles, blemishes, and moles. Simply select one of two editing options and presto! Skin tone and complexion are evened out.

Another advanced feature is the Red-eye Fix mode. This in-camera feature automatically fixes the typical red-eye associated with the use of the flash, before the photo is produced, a significant time saver as you don't have to spend time afterward removing red-eyes from your photos.

Samsung's Photo Style Selector allows you to transform your photos from simple memories to works of art. Choose from a wide selection of artistic treatments ranging from classic black and white to something more vivid, giving you full control over the color tones of your image. Additionally, with Samsung's unique highlight feature, you can focus on one area of your photo and blur everything around it, turning a normal photo into something much more complex.

And it also shoots movies!

The Last Lab on the Planet to Process Kodachrome

2009-11-28T11:17:00.001-05:00

Visit msnbc.com for breaking news, world news, and news about the economy

What Camera Do I Buy as a Gift?

2009-11-27T09:59:00.000-05:00

The most common question asked of photography professionals is also the most annoying because there really isn't any correct answer. The question comes in a few different forms: "What is the best camera?" or "What camera should I buy?" or worse, "What camera should I buy for my _______?" Enter father, mother, brother, spouse or significant other in the blank.

A professional shooter knows that the best camera is the one that you have with you when you need to take the picture. However that answer will only alienate the dear friend or relative who is seriously looking to you for advice, plus cement your reputation as a smart aleck, joker or wisenheimer. I've have learned that the solution is to play detective and ask some questions before making a recommendation.

Will the user have any interest in learning the camera's operation? My father had me purchase a Canon PowerShot as a gift for my mother on her 80th Birthday. I dutifully researched the models and purchased a camera and small snapshot printer within the price range he indicated. My mother has never used the camera and it's my fault, kinda-sorta, I never realized that my Dad actually wanted the new camera for himself. My Mother has no interest at all in taking photos. This taught me that before you buy someone a camera you should ask if they would actually use a camera if they had one.

Another question I've learned to ask is: "What type of photos will this person be taking?" In other words, will Uncle Bob be shooting family snaps at social events and vacations or does he dream of being the next Ansel Adams or Richard Avedon? (The answer to the latter is to tell Uncle Bob to go and pick out a camera for himself while you buy him a necktie.)

Now that you're even more confused about which camera to buy I will simplify it for you: It doesn't matter! Every compact digital or advanced DSLR produces technically remarkable photographs. Chalk it up to globalization or advanced corporate espionage but the differences in cameras among the major brands are small and each manufacturer makes models to fit every price point. So as far as I'm concerned the most important question is, "What is your budget?" Which is a bit more polite than, "How much cash have you got?"

So you've decided on the budget and you're going shopping, the most confusing feature you'll encounter is Megapixels.

The biggest selling point that camera manufacturers use is the number of megapixels that their unit offers. It is a fallacy is that the more megapixels the better. Big megapixel numbers surely sound impressive, especially if you don't know what a megapixel is.

A megapixel is 1,000,000 pixels. To understand what a pixel is look at photo in a newspaper. Notice that the photo is made up of lots of little dots. In the old days of film photography we would have to convert the photograph to dots, they are called halftones. Today with digital photography the image from the camera is already in dot form, those dots are called pixels.

Television is where pixels came to being. Your standard television set has 425 pixels/dots top to bottom. If you are lucky enough to have a new HD television you have 1020 pixels top to bottom. In photography we measure pixels by how many are in an inch or how many there are in an image.

Most computer screens are set to 72 pixels/inch. A 1-megapixel file will fill your high-def screen and a 10-megapixel camera will give you a file large enough to fill the Diamond Vision screen at new Yankee Stadium.

If the only thing you do with your photos is print 4x6 photos for your album and load your images to Facebook you don't need a massive DSLR like a Canon 5D or Nikon D100, a Kodak Easy-Share will do you fine. And the beauty of these smaller cameras is that you'll always have it with you when you need it!

Now that you understand that massive megapixel capture is irrelevant unless you're making poster size prints or billboard you can settle on some other important things like what color camera you want. Yes, cameras are no longer just silver or black they come in colors!

Another important feature is the size of the screen at the back of the camera. The larger the screen the easier it will be to review the image, especially if you need glasses to read. In fact, if you need reading glasses you need to have your glasses on when you shoot. No way around that.

Here's the deal, photography is fun, if you're not having fun and capturing fun memories with your camera then something is wrong. Perhaps your money would be better spent on therapy and medication or an extended vacation. But then you won't have those vacation photos to share!

One final bit of camera buying advice; if you're young daughter is a big Ashton Kutcher fan and talks about him in those humorous Nikon television commercials then a Canon or Olympus just won't cut it. Buy her the Nikon she wants and be a hero.

Holiday Photo Advice

2009-11-20T09:55:00.001-05:00

When Rod Stewart sang “Every Picture Tells A Story” he was lying. While an accepted fact that every picture should tell a story we all know that few actually accomplish it.

Holidays are about stories. Stories are the way civilizations pass the reasons behind its traditions to future generations and photos are the way we pass our personal stories to future generations. So when you take photos this holiday season keep in mind your responsibility to your descendants. (And all you thought you were doing was grabbing a few snapshots.)

Telling your story pictorially is not hard if you stick to a few simple rules.

1) Before you shoot know your equipment.

Don’t let that new camera sit in the box until everyone is already on his or her second course at dinner (or after you’ve had that second glass of Uncle Robert’s homemade wine). Take it out of the box right now. Unwrap all the memory cards, software discs, and wires, charging cables, manuals, guides, doodads and gizmos packaged with the camera. Find the Instruction Manual and if you’re lucky, the Quick Start sheet.

Next compare what is in the box with what is listed in the Instruction Manual or Quick Start sheet. This will accomplish two things, first it will allow you to familiarize yourself with all the camera’s parts and, just as important, see if anything is missing. Do not throw anything away!

Now charge the battery.

While the battery is charging read Instruction Manual to learn how to operate the controls, especially the On/Off switch and Shutter button. Don’t bother to look at the camera for the moment, there are plenty of pictures and illustrations in the manual, let the battery charge. Later you’re going to read the manual again with the camera in front of you, after the battery is fully charged. Did I mention to charge the battery enough times?

When reading the manual the second time around, with the camera in your hands, play with all the buttons and shoot a few worthless pictures then delete them.

In the history of photography cameras have never been more sophisticated yet simple to use. By reading the manual cold then going back to it again with the camera in your hands you’re effectively studying its operation and re-enforcing your memory. If you take this advice, when you have an operational question in the future you’ll pick up the manual to find that you already know the answer.

2) Have enough memory on hand (or film if you’re still doing that).

There’s nothing worse than having a magical moment appear in front of you and seeing that dreaded MEMORY CARD FULL prompt on the LCD screen.

Download your memory card’s contents to your computer! Buy extra cards. And never delete individual photos from the card to free up space. You might accidentally erase the entire card.

I don’t recommend permanently storing all your photos on cards since they are small (especially SD cards) and easy to misplace. Also dropping a card on a hard surface or exposure to the elements, especially magnetic fields, can damage them and make the pictures unreadable.

3) Tell your story.

A good story has three parts: a beginning, middle, and an ending. So shoot lots and lots and lots of photos. While its true that a seasoned professional photographer can tell a story with one really great photo you’re not under that kind of pressure. You can shoot everything. In a future blog entry I’ll give you some ideas as to what to do with all those photos.

Maybe your story starts with packing the car for the road trip to Grandma’s or dressing the kids.
If you’re going on a road trip don’t forget to take photos of the signs along the way. If you’re driving stop first or let your passenger grab the picture. I spent many years traveling by motorcycle and my favorite pictures (and best reminders of where I was) are of my motorcycle in front of a sign.

This is me on a car trip through the California high desert.

The sign at restaurant in Vermont where we stopped for breakfast.

Shoot the turkey going into the oven or even start your story with shopping for the turkey, especially if you’ve gone to a turkey farm and picked out a live turkey. Opening a bottle of Champagne makes a good photograph. Relatives greeting at the door also makes a great image. Pay particular attention to older friends and relatives, one day you might wish you had a photo of someone that is no longer around.

Mix it up. Take generational photos. Your oldest relative holding the youngest child. If you have photos from past holidays and the same people are together arrange them in a similar pose. Make that same photo every year.

This is Gabe in Grandma's arms

When taking photos of people eating give them a chance to swallow their food. Stand up or on a step stool or chair when shooting across the table to minimize the table clutter in the foreground. Have people get close to each other, wrap their arms and get their cheeks together (both sets). If using a flash, arrange everyone in the same plane as people close to the camera will appear lighter than folks in the background. Learn and use the red-eye prevention setting and warn everyone to keep their eyes open and smile while the flash fires multiple times.

Move in close, either with your zoom or by taking a step closer. Fill the frame.

Take pictures while saying goodbye no matter how late it is or how tired you are. Pictures of children who have fallen asleep on the spot always look angelic (as opposed to the shot of Uncle Robert who’s passed out after the third glass of his own homemade wine).

Thanks to the digital photography revolution we no longer need to worry about the cost of each image and with rechargeable batteries we don’t have to worry about buying extra batteries. However if you’re really shooting lots and lots and lots of images, then having an extra rechargeable battery and a charger is a nice idea.

Shoot photos unmercifully now and delete the one with Mildred’s eyes closed later, ON THE COMPUTER, AFTER DOWNLOADING!

Thanks for reading my first blog entry and I wish you all a Happy Thanksgiving!

Buddha and the Windsurfer

2009-08-25T15:18:00.001-04:00

My Bro-in-law must like to take the tougher road. For a first career he became a cop (albeit in a peaceful/boring 'burb) then he married my sister and now, as an artist, he's decided to work in stone.

Lately he's also developed a serious windsurfing habit, which doesn't distract him from earning a living because he's semi-retired, and courtesy of the economic crash local wealthy folks aren't dropping huge amounts of currency into hiring him to build stone walls around their estates.

Recently he's been obsessed with carving Buddha and, as it turns out, Buddha is a favorite mascot for surfers - who woulda thunk?

I'm not sure how it happened but word of his Buddha carvings made its way to Windsurfer Magazine. So he requested that I shoot one of his Buddha carvings with his windsurfing gear and beat-up stone-hauling truck. I obliged happily .

Turns out that the windsurf rag ran the image. Of course the editor didn't pick the best shot (above) and then to add insult to injury they sent me a contract that offered $40.

I don't mind getting the measly $40 for a photo I did as a favor for a family member. What ticked me off was that the contract the rag sent me asked me to relinquish all rights in perpetuity for the image. Plus, they wanted my tax ID. For those of you unfamiliar with tax/income comings/goings - the feds only demand a tax ID if you've paid someone more than $600 in a calendar year.

Needless to say I redacted the contract eliminating their rights grab and sent them an invoice for the $40 stipulating ONE-TIME use as an accompanying illustration to one editorial piece.

Having been a publisher of a small circulation special interest rag (see my blog at RidersCramp.com) I understand the budget bit - but demanding ALL rights! Gimme a break!

Stephen Colbert Nails Amtrak

2009-02-20T15:29:00.000-05:00

The Amtrack Police arrested a photographer who was shooting photos for the Amtrak Photography Contest!

The Colbert ReportMon - Thurs 11:30pm / 10:30c

Nailed 'Em - Amtrak Photographer

Colbert Report Full Episodes
Funny Political News

Christian Bale Parody
Joke of the Day

While this of itself is funny what's not funny is that fact that police departments across the country have used the "9/11 Excuse" to harass and arrest photographers who are not violating any rules. Recently New York City paid a $31,000+ settlement to a photographer taking photos of the a subway.

First Photos of 2009

2009-01-01T22:14:00.001-05:00

Another Walk - Another Few Frames

2008-08-26T08:39:00.000-04:00

Another walk around Rockland Lake. Today the thermometer was straining to reach 60 degrees, a warning of the season to come. I almost turned back because of the cold and being rather tired but instead I forced my self to put in the milage. Soon I'll have to exercise indoors. But that's a worry for another day.

Meanwhile here are today's images:

The Boat Pier

The Nature Center through the fence.

The Inlet

Need Some Inspiration; Take a Walk!

2008-08-22T13:05:00.001-04:00

OK - so I'm not really walking for photo-inspiration; I'm walking for cardio-fitness. Regardless, I've been bringing my camera (Canon 5D) with me on these walks. My (almost) daily routine is the three-and-a-half miles miles around Rockland Lake. I start out at 6:30AM because after 8AM you've got to pay a $6.00 parking fee. Besides-the light is better in the morning!

Process That Film - NOW!

2008-08-21T16:43:00.000-04:00

Hats on the Boardwalk/Venice Beach, CA

After Roberta (my wife) came back from Las Vegas last week I had the film processed from my Olympus Infinity Stylus (I love that little camera). Since the "digital revolution" that poor camera has been sitting in my camera bag - that was until Roberta needed a camera to take to Vegas.

After processing I found that the film showed signs of heat and age damage.

I also have a Canon A2E SLR film camera that also sits in a bag - its been in the bag for nearly two years with the same roll of film in it, so having learned my lesson from the little Olympus I had that film developed - LO AND BEHOLD there were a few gems on it from a trip to California...I just don't remember when!

The moral of the story is; If you have any film laying around – get it to the lab ASAP!

Sign and Surfer/Venice Beach, CA

Sign and Window/Venice Beach, CA

All text, photos and video in any of these blog posts are ©Mark Kalan and may no be copied or reproduced without written permission.

The Catskill Cats

2007-09-18T17:30:00.000-04:00

I was in Catskill NY today to visit my friend Jason and help him divest years of photo garbage before he moves to Iowa. There was an art installation and I only had a few minutes in the morning and the afternoon to shoot the cats. Click here to go to the gallery of all my images from that day in Catskill.

Tiffen Dfx Filter System

2007-09-08T10:56:00.000-04:00

It’s the instantly accessible digital equivalent of a case of glass filters

—and a lot more!

While I’ve left behind the world of mixing toxic chemicals and blindly clawing at the darkroom doorknob with stained fingertips, I’m spending the same amount of time processing images. After shooting tens of thousands of digital photos I’ve come to the sad conclusion that when a file leaves the camera it must still be processed. Each frame virtually cries out to be sharpened, corrected, burned or dodged to name a few of the required repairs, corrections or enhancements.

All that processing meant that I had to become a master of Adobe Photoshop, which wasn’t easy and, I’ll admit, I’m still not there. That doesn’t upset me because I’ll bet that even in the hallowed halls of Adobe few people are true masters of the program. The reason is the myriad options that the Adobe artifice offers and where in the program they’re hidden. I’d look at an image and wonder to myself, “What is the correct correction? Occasionally, if a colleague was around, I’d ask for an opinion, “What should I do, what would you do?” The best advice I’d ever received was to “…just play with it until you get what you like.”

Yeah right! After forty years making photographs (and still learning something new with each image) I had hoped that the digital age could offer me something a bit more substantial in the clue department.

That was until I was introduced to the Tiffen Dfx program. Like the fresh air and daylight that wafts around the darkroom door when you push it open the Tiffen Dfx program awakens the senses and enhances creativity.

As with most programs, when I first began using Dfx I expected to spend hours playing “Dungeons and Dragons” with the menus trying to find the route to the necessary command (while somewhere in cyberspace a software engineer was laughing at me). I was relieved to find that this was not the case.

Starting with the drop down menus and on to the most sophisticated parameter adjustments the Tiffen Dfx program follows an intuitive pattern and the documentation offers simple explanations of each effect.

The drop-down menus offer File, Edit, Image, View and Help which all do exactly as the names imply. The View quickly became my favorite because it changed window arrangement to suit the task I was involved in. Even better, one click and I was back at the default arrangement!

Speaking of the windows, there are four in the program: Effects, Presets/Parameters, Filters and the main image window. The Filters window runs along the bottom and offers the type and style of filtration. Click on the header and the options appear below, click on a style and the presets appear on the right. On the left is the effects window, which gives you a constant before and after comparison.

Most of the filtration offered in the Dfx system is will seem pretty standard to most still photographers, like graduated neutral density for darkening skies or foregrounds and color correction but it doesn’t end there. Tiffen has included a gamut of gels that would make a theatrical or motion picture lighting director swoon and grips grab their union cards. These virtual effects carry the same trademarked brand names as their actual cousins. While similar color correction can be applied with Photoshop, Tiffen offers presets that you can experiment with a mouse click or two, all the time viewing both versions in the effects window.

Also there are some real gems hidden among these effects. One is in the Light set. Silver and Gold reflectors are a mouse click away and those deep shadows are rescued. Glimmer Glass and Halo makes wrinkles on your Aunt Esmeralda disappear faster than a Botox injection and longer lasting. The Film Lab menu offers choice of film looks that add the mood and texture of analog photography plus some experimental processing looks like bleach bypass, cross processing and flashing. Effects some former wet process photographers may remember and love, now in a predictable and repeatable process. Best of all, I can finally make a true sepia tone image, something I’ve never been able to do in Photoshop.

I found the Faux Film selection to be the Holy Grail that rescues the flat tone line of digital sensors to more of a curve like real film.

If you’re a wedding photographer the Tiffen Dfx is nothing short of magic. With the click of a mouse you can add special lighting effects. Let’s say you’ve got that killer shot of the couple coming down the isle. Your lighting is good, perhaps even excellent, run it through the Dfx program and you can add a gobo that looks like the light is falling from a large bay window (or other sources). Another click of the mouse and you’ve got your choice of ethereal glows.

Dfx also offers the ability to make masks and paths to selectively apply effects. The path and masking tools are accessed with one click and the automatic selection is extraordinary. After creating the mask to can pick the foreground and background with a small slash line-then with a click you can create a new depth-of-field effect.

I found the graduated ND filters my favorite and had to stop myself from applying them to every scenic image I own. The added beauty of Dfx is the ability to drag the effect to the section of the image that needs it. This goes for graduated tone filtration as well.

Color and exposure correction aside another great feature is rotate command. At the click of a mouse you can rotate the image a single degree in either direction. Perfect for aligning horizon lines like horizons or buildings. Add that to the crop tool and I start to wonder why I need Photoshop at all.

Should you need to apply the same effect to large numbers of files there’s batch processing.

Every time I pick up a camera I’m faced with decisions about lighting, composition, filtration and exposure to name a few. Each of these factors proves to be a catalyst for yet another decision to enter the thought process. Sometimes (though hard to admit) I make mistakes or miss some creative option. The accepted wisdom, after a century of cumulative photographic experience, is to shoot the image correctly and the photograph will be fine. These days with the relative ease of computer image processing I’m occasionally tempted to leave problems for “post-production” as the movie people have called it for years. Consciously planning to fix problems in “post” is never a good idea. Which is why I still carry and assortment of lenses, optical filters, lighting gear, gels and the like. Yet sometimes I can’t carry the entire DSLR kit, sometimes I’m just wandering off with a high end point-and-shoot in my pocket. While adapters and filters are available for use with point-and-shoot digital cameras, carrying them would negate the advantages of these photo-techno micro marvels. This is where the Tiffen Dfx software becomes a perfect solution.

Simply put Tiffen’s Digital Dfx Filter Suite is the digital equivalent of a case of glass filters, gels, adaptors, cases of custom lighting and grip equipment, and an experienced photo assistant/lighting director to lug them around for you.

To paraphrase some early advice offered to me about image processing, when you get the Tiffen Dfx program installed and open an image, “play with it until you’ve got what you like.” I’ve only touched on a portion of the marvelous effects that Tiffen’s software engineers have culled together and I look forward to further exploration and I encourage all digital photographers to join me. I guarantee it will be fun.

Shutterbug Magazine makes me somewhat famous

2007-03-20T16:41:00.000-04:00

My buddy Jason thanked me in his review of the Leica M8 published in Shutterbug magazine and on Shutterbug's website. Here’s the story about the story.

I met Jason Schneider when I was publishing a small enthusiast motorcycle magazine. A friend at one of the motorcycle companies suggested he call me since he lived near my office. Jason had just retired as Editor in Chief of Popular Photography and was looking for outlets to sell his writing. And he’s also a world class motorcycle and scooter enthusiast. In short order we became good friends.

As a photographer; I’m a Leica enthusiast. I’ve owned more modern Leica models than I care to remember and made great photos with all of them. Budget not withstanding I would have an M6 with the 35mm F2 Aspherical over my shoulder at all times but then again my garage needs a new roof. Perhaps the Lotto numbers will favor me so I can splurge for one of those pimped up models that E. Leitz offers. (See Leica a La Carte) I’m thinking green leather and gold metal (or just tar paper for the new roof). This is my curse; I believe that the best camera ever made, the elusive perfect photographic machine is the Leica M6. I also believe that any photographic story can be told with one prime lens.

So when my buddy Jason called to tell me that he’d just grabbed an M8 for review I jumped at the chance to play with it. Little did I know that what Jason really needed was another high end digital for comparison, enter my newly purchased Canon EOS 5D. He also needed some computer imaging help as Jason is slightly Macintosh-challenged.

I’m slowly accepting digital photography, (About as well as a kicking and screaming two-year old being dragged off to bed). I bought the Canon 5D because I’m doing more commercial photography work where the image is on-demand, also labs are slowly fading into history. At least the 12 years as a publisher necessitated daily interface with Photoshop so I have the experience with various digital input devices, cameras and software.

I bought my first digital, a Leica Digilux, over a decade ago. Back then it was made by Fuji. Despite breaking under the abuse of the motorcycle season the camera was cost effective from a business standpoint. I was spending about $300/month on film and processing to cover motorcycle events so a few months of no film expense covered the cost of the camera, and eventually each of its replacements.

I really liked the design of that first Leica digital camera for its functionality and image quality but it was only a 3.1 mega pixel unit, small by today's capture standards. However the files were large enough for our newsprint 85 line screen. I broke that first Leica and instead of repairing it Leitz offered me an upgrade which I took. Since then I’ve owned a half-dozen different digital models by various manufacturers, from a two by three inch Sony 3-mega pixel that hung from a lanyard (to this day my one of my favorite cameras) to a Nikon D100.

So Jason and I met here in Nyack then again up in Catskill to play with the M8 and make some photos.

I had immediate disdain for the M8 when I picked it up. "This is not a Leica," I said to myself. The body is too boxy, too thick. It looks stubby. The camera lacks, for want of another word, the sexy-ness of the M class cameras. Yeah the weight is there, yeah it opens on the bottom, blah-blah-blah, we are NOT impressed.

And I don’t buy the smaller sensor routine. All the years spent squirreling away some coins to eventually buy an E. Leitz super wide lens only to have it become less than normal when mounted on a digital body? That is provided you have the lens mount upgraded so the M8’s computer can read which lens it’s wearing. Sorry Leica that’s rude. Either redesign the entire system from scratch as Canon did or enable all your users to access the technology like Nikon did.

Am I alone in decrying the step back in physical technologies that the step forward to digital has brought? Years of advances in lens design and manufacturing are being scrapped because aberrations can be corrected in the software. Dust management has become tantamount to containing a pandemic with images suffering on the wayside.

Gimme an M6 with a 35mm F2 Summicron and then I’ll drum scan the best negatives…for now.