Mar 302012
 

I took delivery of a Canon EF 100mm f/2.8L Macro IS USM lens last Thursday, my first autofocus lens. I had planned to shoot with it quite a bit this week but unfortunately I was laid low with a viral infection that can best be described as 48-hour flu. I am over the worst of it but its effects are lingering on in the form of feeling listless and lethargic. I did manage to get out and about at the weekend and was mightily pleased with the results.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

Using an AF lens has involved a learning curve for me, albeit not a steep one. I am using back button focus, a method I read about a while back and considered by many to be preferable to half pressing the shutter to achieve focus. My thumb has quickly learned the position of the AE Lock button and I must say I enjoy this method of shooting. It did involve making a couple of adjustments to the Custom Functions of the Canon 40D and I have also set one of the camera settings C1 to shooting with AF.

When I go back to my trusty manual focus Zeiss Planar T*, I will simply switch back to Av mode.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

A few weeks ago on this blog I was lamenting the way that camera manufacturers do not seem to cater to the wishes of photographers like me by producing the digital equivalent of the Nikon F2, Nikon FM, Canon AE-1, Minolta XD7 or Pentax K1000.

My photographic friend Bob, in England, echoed my thoughts when we were corresponding about the specifications of the new Canon 5D Mark III.

Bob wrote:

It all seems so far removed from my type of photography (and I use the latter word to describe the whole exercise/experience in the field). The phrase “great quality sound” just about sums it up. How have we managed to get to the point where these three words apply to a Single Lens Reflex camera!!! If this were an old-fashioned letter, this would be the point at which my pencil broke on the page.

I wonder if anyone will ever take something like a Pentax Spotmatic F as a model, simply put a sensor where the film plane used to be, bung some elementary digital electronic gubbins and a battery where the film/cannister was and market it as the “Jurassodigimatic”. Race you to the front of the queue.

Bob is a down-to-earth Lancastrian who has been photographing for more than 40 years. He specializes in landscape photography, industrial photography and railway photography, particularly steam locomotives. His work has been published in British steam railway enthusiast magazines. His approach to photography often involves meticulous planning and the use of a tripod and is diametrically opposed to my journalist on-the-fly hand-held approach.

Imagine my surprise this morning when I read an interview with one of my favourite contemporary photographers, David Burnett, on The Online Photographer Web site. I admire Burnett’s reportage work immensely and he also comes across as a genuinely nice guy.

While the kindergarten classes on DPReview are arguing the merits of the Canon 5D Mk III versus the Nikon D800, Burnett is still shooting with a pair of the original Canon 5D cameras. To Burnett, and any self-respecting professional photographer, cameras are simply tools. It is how those tools are used that separates the men from the boys.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

Burnett admitted that he does not own a digital camera capable of shooting at 100,000 ISO but did say that he had recently acquired a Leica M9 and went on to extol the virtues of rangefinder photography.

Burnett said:

I have been quite amazed, actually, that neither Canon nor Nikon has come out with their own re-creation of one of their classic rangefinder cameras. In all the advances in photo technology, it just surprises me that none of the traditional makers other than Leica (the preeminent) has seen fit to create a camera (please, no harping about the Epson) which recreates all those great 1950s cameras.

The interview garnered plenty of comments, many from young photographers admiring Burnett’s work. As befitting the man, he added a comment to the interview, acknowledging those kind comments.

He went on to say:

My issue with the RFDR cameras is take a Nikon D700/Canon5D chip (proven, capable, cheap) put it in a new SPdigi, CanonP/7 digi body, put a screen on the back as good as any $400 point/shoot (there are plenty), and PUT A FRICKEN RANGEFINDER with an M mount on the body. It’s not rocket science though perhaps it’s being seen that way. God bless all the x100/X-Pro1, Sony 5NEX, etc., etc., etc. cameras. Let them all fight for the wannabe crowd but make a $1500 RFDR body, (no need for video, let it just be a PHOTO camera) and you will be a) Camera of the Year; b) unable to keep up with demand; and c) loved by a very loveable group of shooters.

On reading that, I immediately thought of Bob’s e-mail and my own wish for a digital version of the great SLRs of the 1960s and 1970s.

Of course, it begs the question as to why major camera manufacturers will not produce such a camera but continue to produce the behemoths that full-frame DSLR cameras have become and why a generation of photographers, those of us 45 years and plus, is being ignored by the camera giants.

Over to you Canon, Nikon, et al!

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Jan 202012
 

I am a regular visitor to The Online Photographer Web site. I admire the writing style of founder and editor Mike Johnson, and the site provides a valuable  insight into the wide spectrum of photographic subjects. This week saw a piece by guest contributor Ken Tanaka who wrote about January being a time for self-assessment.

Ken posed the question: How do you feel? He went on:

This may seem an odd question but the answer is fundamental to realizing how you can best pursue photography.  How is your health?  How’s your weight, your energy, your mobility, and most importantly your eyesight?  Are you unrealistically pursuing a style of photography that’s become too physically demanding for you?  I don’t mean just arduous treks with heavy kits but also long hours on your feet in a studio or darkroom.

More than ever, photography offers virtually everyone with eyesight the opportunity to participate.  Indeed, today’s small, light, powerful cameras enable you to achieve spectacular success even with rather restrictive physical limitations.  You no longer have to carry heavy camera kits to get good technical-quality imagery. So if you’ve not already done so, now’s a good time to evaluate if your equipment, subjects, and style are really good choices for your age and physical condition as well as for your goals.

Now for you  20-, 30- and 40-year-olds these sentiments probably do not strike a chord and rightly so. Barring misfortune, you are good to go for 20 years at least. But for someone who will be 60 in 18 months time, Ken’s words hit home.

I do have health issues — blood pressure that is kept in check with daily Lisinopril — but that is not going to impinge too much on my photography. I also have  issues with the optic nerve in my right eye as well as the onset of glaucoma. Those issues obviously do concern me as a photographer. Luckily, my left eye is my sighting eye, the one I use to gauge focus when manual focusing my Zeiss lens.

Canon 40D and Zeiss Planar T* ZE 1,4/50. ©Calvin Palmer 2012. All Rights Reserved.

After reading Ken’s article, the balance once more swung towards the Ricoh GXR with the A12 M-mount. Ricoh, like Sony with the Sony NEX, has incorporated focus peaking to assist in the nailing the focus with manual lenses. That function appeals to me a lot.

In the course of this afternoon, I received an e-mail from a friend in London who had visited the Landscape Photographer of the Year 2011 exhibition at the National Theatre. She said she was disappointed not to see any of my photographs on show. Right!  She did go on to mention that the work of photographer Sandra Bartocha appealed to her greatly.

Checking out Sandra’s portfolio, I can understand why. Sandra’s landscape photography does not go in for sweeping vistas but tends to concentrate on a single element of the landscape, exploring colour and texture. Sandra is a hardy soul, regularly venturing out in the cold and snow to capture exquisite shots. Her portfolio is well worth a view.

Sandra’s work also shows that you do not have to live or visit some great scenic area of the world to produce fantastic landscape photography. Great opportunities are probably right on your doorstep or just a short drive away. It is knowing where to look and seeing the potential for a great photograph. Sandra possesses this talent and an abundance of it.

I read up a bit more about Sandra and discovered that she shoots with a Nikon D700 and her favourite lens is the Nikkor 105mm f/2.8 VR.

You can probably see where I am heading and you are absolutely right. The balance has swung back to the acquisition of a full-frame DSLR and my case it would be a Canon, preferably the still-to-be-announced Canon 5D Mark III, rather than a Nikon.

But by this time next week, I will probably have found another article and good reason to swing back to the Ricoh GXR M-mount again. Like the old joke goes: I used to be indecisive, now I am not so sure.

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