iae aa eia

iae aa eia

Lives in Brazil Belo Horizonte, Brazil
Works as a English school coordinator and EFL teacher
Joined on Jan 13, 2011
About me:

I was born in João Pessoa, Brazil. I lived in a few other cities in three neighboring states in the Northeastern region before moving to where I currently live, about 1,300 miles away down south. Back then, photography was not offered at colleges and universities, and I never got a higher education. I tried to get in the AirForce. They offered the career of aerial photography (don't know if they still do). I tried to work with social photographer, and shoot a couple of birthday parties and portraits, but I wasn't successful. I liked the experience, but I had never been a very social person and the few clients I got had been with the help of my mother.

Soon I was living by myself and in a different city. I was not able to prospect any clients by myself nor to get any recommendation from the few folks I had done some work for. I found out only decades later that I suffered from depression and lacked a great deal of social ability, as I was constantly isolated. I was not weird in front of people, though. I was very inexperienced, and never received any kind of guidance, any kind of advice; nobody never called my attention to my autistic-like behavior toward people, especially as a photographer. I gave up and worked with motorcycle sales (also a disaster due to the same issue) and also at 1-hour photo labs/shops as a minilab operator. Now I was successful, as I worked isolated most of the time. As a minilab operator, I was considered one of the best at all the places I worked at, thanks to the fact that I loved photography, read a lot of technical literature, and learned how to operate and maintain those machines with very exigent folks. One of them had worked at a Kodak laboratory for more than a decade (which he left to start the first photo lab I worked at), and the other one was a Noritsu consultant.

I got involved with the church of Christ and I started to be able to look at myself in a clearer way, coming to realize what the problems I had were and what I needed to do. During that time, I was often in contact with Americans and my English improved considerably. It was at church that I was encouraged to start to teach English. After about six years as a teacher, I got the opportunity to have my own business, an English school franchise focused on private classes at homes and businesses. Although I had gotten better over time, but still aware of my insuficiently high and constant positive mood, that kept me from continue being a photographer back then, I now work with a person that is an expert in marketing, the kind of profissional that, if I had back then, I would have been a 20-year-career photographer by now. Along with this business, came the first opportunity to leave the Northeastern region of Brazil.

The first camera I have ever shot with was my mother's Kodak Instamatic 177XF. It happened to me to work as a photographer in the 90's, but I always had problems working by myself (not having the skills to do that marketing thing; socializing and stuff; and thus, feeling discouraged) and I didn't care to find a partner. What I needed was someone to help me promote my work, just as described in the previous paragraph. I don't work with photography, but I can say I still do something I love. I have always liked English, so it never gets old. And most things I've learned through reading, including photography, were written in English.

The first contact I've ever had with photography literature was in the 80's. The husband of a distant relative of mine gave me a photography guide composed of two magazine-sized and four less-than-letter-sized books. Each one of the magazine-sized books was divided into many sections, like cameras, lenses, flashes, framing, darkroom, techniques, pro-photographers' galleries, etc; and the other four books focused on specific photo subjects. Only photos and commentaries in them. One was about people, the other was about women, another one, about nature, and one about architecture. I loved that kit. Later on, when I was able to understand some English, I could compare them with many other guides and I realized that they were quite complete and technically accurate. Really good stuff for Brazilian standards. It was probably the translation of an American guide.

In 1993, I was living in a city called Natal, RN. I was riding my bicycle when I decided to stop at a newsstand located at a supermarket for a quick look at the magazines as I used to do. I wasn't looking for anything in particular and didn't intend to buy anything, but while I was browsing, I saw that beautiful red glossy cover magazine with lots of SLRs on it, standing on the top shelf. It was the December's 1993 edition of Petersen's PHOTOgraphic magazine. I was in awe, thinking, "Wow, look at that!" I had never seen such an appealing cover (uncommon to Brazilian magazines at that time) and that rich content in terms of equipment. I decided to buy a compact Collins Gem Eng-Port Port-Eng dictionary and a calculator in the same week I bought that magazine, and spent the whole month trying to translate most of the magazine's content and converting feet to meters, inches to mm and cm, and pounds and ounces to kgs, and even dollars to royals (our currency, or 'real/reais' in Portuguese). I continued to buy issues of that magazine for the next 6 months. At first, equipment ads, camera and lens guides and articles, and shopping catalogs where the sections I read the most.

In 1996, I was living in Guarabira, PB, and the owners of a photo shop in Natal called me and invited me to move back there and work as a minilab operator. That was my first job. I got to know the folks there because they didn't have access that kind of magazines and I used to go there and take mine and talk about photography, and we enjoyed that a lot and we became friends. While I was working there, I had the chance to handle some very nice cameras like the Nikon F3, FM2, Minolta Maxxum 9xi, and some others from Pentax. Canon was rare.

Comments

Total: 238, showing: 1 – 20
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In reply to:

iae aa eia: One interesting thing about bright lenses on medium format is that the bokeh still looks different than using an equivalent on an FF. Not the amount, which will be the same, but something related to the perspective. You can make people, for instance, look like miniatures without the need for a tilt-shift lens or of applying digital TS effect (well, digital TS to make a miniature of a person standing up while still maintaing the whole body in focus is difficult; requires selective editing).

CONTINUE... If you just use the 100mm to shoot the cat 6 feet away, it will appear the same size as when shot with the 50mm, but you will be able to see it looking like a miniature cat. As I said, it's hard to explain, but this is not theory and there are many samples that prove that.

Even theoretically speaking, this is clear. Just imagine that, using both lenses to shoot the cat, the farthest light ray will make a less angled travel on the 100mm on the bigger sensor. It's as if the fact that the same bokeh is achieved with a smaller aperture on the large format made the bokeh look like produced by a tele, more uniform, even though the focal is standard, and the tele effect, on the standard, works like a macro lens.

Just take a look at those two samples I posted and you will clearly see this slight miniature effect on the subjects. You can achieve the same bokeh using a twice as bright lens on an FF, but you just cannot achieve the same slight miniature effect.

Link | Posted on Apr 29, 2017 at 03:23 UTC
In reply to:

iae aa eia: One interesting thing about bright lenses on medium format is that the bokeh still looks different than using an equivalent on an FF. Not the amount, which will be the same, but something related to the perspective. You can make people, for instance, look like miniatures without the need for a tilt-shift lens or of applying digital TS effect (well, digital TS to make a miniature of a person standing up while still maintaing the whole body in focus is difficult; requires selective editing).

I have never elaborated on this, so it is a little difficult to explain. Let's say the standard land for a medium format is 100mm, just to make calculations easier. A 50mm ƒ/1.0 will produce the same brightness and amount of bokeh that the 100mm ƒ/2 would. Ok, we all agree on that.

But, the ration of the larger sensor versus, let's say, the size of a mouse, for instance, is smaller, perhaps reaching somewhere to 1:1, while the ration of the smaller sensor will be 1:2. I don't know how to explain that perfectly, but this influences on the general perspective.

It's as if you would get the same result in terms of perspective (depthness or something) by using that 50mm on the FF format to take a picture of a cat 6 feet away and by using that 100mm (on a medium format whose standard lens is 100mm) to take a picture of a dog (which is twice as tall as the dog) 12 feet away.

Link | Posted on Apr 29, 2017 at 03:23 UTC
On article Sphere of frustration: Nikon KeyMission 360 review (154 comments in total)
In reply to:

belle100: "Nikon, Mission Abort. I repeat, mission abort. Go back to DL immediately. Over!"

I don't agree they should abort it. 360 video-photography is a very important market and it has to do with a company like Nikon to be in it. They just need to fix the software. It shocks me how difficult, how long this is taking.

Link | Posted on Apr 28, 2017 at 21:56 UTC
On article Sphere of frustration: Nikon KeyMission 360 review (154 comments in total)
In reply to:

CopCarSS: Wow, I don't think I've read a negative review on this site in at least 10 years. Anyone can earn a gold or silver rating at DPR. It takes special talent to get a 2.5 star rating. Way to go, Nikon!

What shocks me is to read that the software issues don't seem complicated to solve. Why is Nikon taking so long to solve something I think they already had an idea after the first month of sales and folks reviewing it? I would perhaps understand if there was a problem in the hardware. And they killed the DL cameras. Someone must be sabotaging Nikon.'

Link | Posted on Apr 28, 2017 at 21:48 UTC
In reply to:

iae aa eia: One interesting thing about bright lenses on medium format is that the bokeh still looks different than using an equivalent on an FF. Not the amount, which will be the same, but something related to the perspective. You can make people, for instance, look like miniatures without the need for a tilt-shift lens or of applying digital TS effect (well, digital TS to make a miniature of a person standing up while still maintaing the whole body in focus is difficult; requires selective editing).

Wrong. It seems like a crop and, yeah, the amount of bokeh will be the same using equivalente lentes (brighter on FF), but the lens design is different at different focals and thus the perspective will be different. I understand more about that than you. It's not like superminiature. Well, check out these two samples. This slight miniature appearance cannot be acheived equally the smaller the sensor is. Something quite logical. It's as if looking at a person and an ant. The size of your retina compared to a person's size is very small, but compared to an ant it is very big, so the smaller the ration sensor/subject, the more miniature effect is achieved, even if a significant but not strong effect.

http://dominik.ca/forumposts/photos/dog_bokeh2.jpg

https://petapixel.com/assets/uploads/2013/07/tintypewedding-1.jpeg

Link | Posted on Apr 28, 2017 at 03:20 UTC

One interesting thing about bright lenses on medium format is that the bokeh still looks different than using an equivalent on an FF. Not the amount, which will be the same, but something related to the perspective. You can make people, for instance, look like miniatures without the need for a tilt-shift lens or of applying digital TS effect (well, digital TS to make a miniature of a person standing up while still maintaing the whole body in focus is difficult; requires selective editing).

Link | Posted on Apr 27, 2017 at 03:16 UTC as 8th comment | 7 replies
In reply to:

iae aa eia: Bright super/ultra wideangle lenses for small sensors (4/3's half way there) makes little sense. If it were, for example, ƒ/3.4-4.8, the designed could be simplified a little, amd/or the number of elements could be decreased, and the price would be lower, the quality would remain, and nothing would be missed in terms bokeh, since it makes little effect and is rarely useful in this kind of lens.

With every other new camera, high ISO values get less and less noisy, counterbalancing the issue of the smaller aperture. Putting aside other features and quality factors unrelated to the optics, and even bulkiness (which helps giving this lens its professional appeal), there's no reason to choose it in place of the 9-18. Perhaps you just can't make a 9-18 with such a small aperture range look and feel professional enough with those small and few elements.

Link | Posted on Apr 21, 2017 at 02:31 UTC

Bright super/ultra wideangle lenses for small sensors (4/3's half way there) makes little sense. If it were, for example, ƒ/3.4-4.8, the designed could be simplified a little, amd/or the number of elements could be decreased, and the price would be lower, the quality would remain, and nothing would be missed in terms bokeh, since it makes little effect and is rarely useful in this kind of lens.

Link | Posted on Apr 20, 2017 at 02:41 UTC as 5th comment | 3 replies
On article Light's L16 camera is in final stages of testing (301 comments in total)
In reply to:

Triplet Perar: I have made a design for a three lens camera, 28, 50, 75, but this is truly crazy. Although, I can recognise great potential. What is required in this, though, is the superior lens design, adequate sensors and image processor. Otherwise, it is not worth it; one great zoom can beat this if the those three lack in any department.

If the practical resolution and noise is anywhere above 50% close to that of an average entry-level DSLR and the price is around the same, it'll be worth it. A regular zoom would only beat it (considering its design purposes) if it came with an at least 1" sensor and the zoom lens were also folded.

Link | Posted on Apr 16, 2017 at 05:06 UTC
On article Light's L16 camera is in final stages of testing (301 comments in total)

I think it will not be a good choice for close selfies in low light environments. The doubt of to which lens to look at will likely result in blurred irises and pupils.

Link | Posted on Apr 16, 2017 at 04:36 UTC as 41st comment
On article Nikon D7500: What you need to know (534 comments in total)
In reply to:

iae aa eia: "The camera's shutter is rated for 150k shots and now features a shutter monitor, which automatically adjust shutter speeds to keep them accurate."

Yeah, I think I heard and read about many people complaining about imprecise shutters in recent years, and adding a monitor is really awesome. Also, 150k? My jaw dropped on the floor and I can't put it back.

Oh man, my jaw had just been screwed back onto place before you said that.

Link | Posted on Apr 13, 2017 at 02:21 UTC
On article Nikon D7500: What you need to know (534 comments in total)

"The camera's shutter is rated for 150k shots and now features a shutter monitor, which automatically adjust shutter speeds to keep them accurate."

Yeah, I think I heard and read about many people complaining about imprecise shutters in recent years, and adding a monitor is really awesome. Also, 150k? My jaw dropped on the floor and I can't put it back.

Link | Posted on Apr 12, 2017 at 13:56 UTC as 80th comment | 2 replies
On article Sigma sd Quattro H real world samples gallery (108 comments in total)
In reply to:

iae aa eia: The color depth Foveons produce is unparallel. Sigma has proved it time and again. No camera beats it. Multilayered sensors to the masses NOW!

Yeah, perhaps color space is more appropriate to say. You feel like the image is more real, the colors more penetrating. I don't know, it's something very different that reminds me of film. Everything looks more real. It beats any other camera either for portrairts or anything else. I worked as a minilab operator for a few years and was trained by Kodak and Noritsu folks, and, well, in my opinion, nothing beats it.

Link | Posted on Apr 10, 2017 at 16:02 UTC
On article Sigma sd Quattro H real world samples gallery (108 comments in total)

The color depth Foveons produce is unparallel. Sigma has proved it time and again. No camera beats it. Multilayered sensors to the masses NOW!

Link | Posted on Apr 10, 2017 at 04:14 UTC as 13th comment | 4 replies
On article Hasselblad X1D-50c First Impressions Review (316 comments in total)

I don't understand why it is difficult to talk about color. Ok, the X1D doesn't output JPEG, but something can be said about the samples in RAW. It looks to me they render colors basically in the same tonality, only that the X1D is more saturated.

Link | Posted on Apr 6, 2017 at 00:49 UTC as 15th comment | 1 reply

This gray finish looks (at least in the pictures) very nice. I think Nikon could have it as their standard color finish.

Link | Posted on Apr 4, 2017 at 04:19 UTC as 12th comment | 4 replies

I had one. I liked it very much. I also had the original super wide-angle lens adapter. It was the last camera I had. I went to the beach and left it on top of a reef while I took a bath, not going farther than 20 feet away from where the camera was. The reef was about 10 feet wide, and the camera was on the opposite side from where the waves hit, and they were not strong, but there was one a little stronger, stronger enough for some salt water to fall on the camera, which was in a little hole, and it became full of water, and the camera partially sumerged. Such a dumb idea to put it there. I felt like I had a followed one of the tips from a Dumb 101 guide.

Link | Posted on Mar 24, 2017 at 15:49 UTC as 30th comment
In reply to:

martuyn: maybe the rest of the world should ban everything form the US.

There are a lot of countries that have banned almost everything from the US. They are very nice countries. People live on farms, 100% diverse people, no homeless, women and gays respected, children well taken care and well educated, they have cameras for free, etc. Google up for countries that have banned American things the most. You're gonna love them. You're gonna want to go live there.

Link | Posted on Mar 22, 2017 at 23:53 UTC

Good job, Trump! Don't trust Muslims. The ones that are not carrying jihadist attacks, say nothing, do no protest against jihadists, but only against islamophobia. They are dissimulating and dissimulation is sanctioned in Islam (Taqiya). Muslims, Islam, are not welcome in America. Make it clear and loud!

Link | Posted on Mar 22, 2017 at 23:47 UTC as 16th comment | 1 reply
In reply to:

tkbslc: Would be grand if they would willingly lower their profits a few percent and improve working conditions in their factories.

It's not as simple as you think. They can't tell how everything is supposed to work in another country, especially one like China. I'm not saying that they are totally exempt of the responsibility, but just saying that good part of the problem is related to the own nation and/or government of a country.

I'm gonna use a light parallel, but that says something. Chevrolet, FIAT, Ford, and VW, for example, sell their worse cars in Brazil, and more expensive than in a country where Brazil exported to. Why do you think that is so? Many people here think car makers are greedy and stuff. No! Why do they sell better cars in other countries?

A company, to make sure they survive in a country, has to dance according to the music to a certain extent. Only the fact it is Apple can help. It help turn Chinese people's eyes to America, and the ones fortunate to have access to see how things work in America will see the differences and eventually demand and get changes to happen over time.

Link | Posted on Mar 9, 2017 at 03:39 UTC
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