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.


Total: 232, showing: 21 – 40
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In reply to:

iae aa eia: The 35mm would be better (would make more sense [to me]) if it were a 31 or 32mm, and the 40 were a 43.

35 is too close to 40. And 43 is the standard focal length FoV for FF.

Link | Posted on Feb 24, 2017 at 16:37 UTC

The DoF this sensor size produces is just perfect. Looks better than FF. IMO, it's definitely setting a new standard.

Link | Posted on Feb 24, 2017 at 04:36 UTC as 58th comment | 8 replies

The 35mm would be better (would make more sense [to me]) if it were a 31 or 32mm, and the 40 were a 43.

Link | Posted on Feb 24, 2017 at 03:04 UTC as 6th comment | 7 replies
On article Yongnuo YN 85mm F1.8 lens now available (251 comments in total)
In reply to:

ttran88: Makes you wonder what the Japanese companies profit margins are. If these lenses are as good and reliable as their flashes, it'll do well and eventually catch on.

They are usually not as good and reliable. The reason is that they are licensed copies. A lot of companies do that. Honda stopped selling a motorcycle here in Brazil, and about a year or two later, the same motorcycle, but in different colors and decalcs, and with parts of slight lower in quality, and very few different parts, showed up under a Chinese brand.

It has happened constantly in Photography. I remember I had a Zenit DF-300, a licensed (I believe) copy of the Minolta X-370. Even the lens was similar. So, the original company moves ahead, and make some profit with royalties on past products made by cheaper companies. It seems to be a win-win for both companies, and help poor people to have an apparently similar product to fulfill thier unattainable dreams of having an original product.

Link | Posted on Feb 18, 2017 at 11:46 UTC
On article Sony FE 100mm F2.8 STF bokeh demystified (355 comments in total)
In reply to:

cosinaphile: the dirty secret of apd lenses , is the fact that they make a fast lens slow ... they really sacrificed light gathering for bokeh that looks artificially manipulated because IT IS manipulated ,,, ill take a normal prime with respectable bokeh and true speed any day

its why i chose the 56mm 1.2 fuji over apd which was really 1.7

What a silly comment. You can't say this way of producing such a soft bokeh is artificial, unless your eyes produce that or it is achieved in any other way that I guess I have missed. Or maybe you are a guy from the digital era, where anything cool achieved by optical means will seem artificial to you, unless made through a photo editing software.

Link | Posted on Feb 17, 2017 at 23:06 UTC
On article Sony FE 100mm F2.8 STF bokeh demystified (355 comments in total)

This lens was first introduced still under the Minolta name (STF 135mm f/2.8 T4.5) and it was already considered a very sharp lens. Its optical design was reworked (8 elements in 6 groups in Minolta's compared to 13 in 10 in the Sony's). A truly amazing lens.

Someone commented saying it is an artificial way to make the bokeh look very soft. I don't think it is artificial, because there's no other original way to achieve a such soft bokeh, or there is and I missed it. Or maybe it's his eyes. Or maybe he's a digital-era guy and anything achieve by any optical means will seem artificial to him, unless done on a computer.

Link | Posted on Feb 17, 2017 at 23:00 UTC as 48th comment | 3 replies
In reply to:

justmeMN: If Nikon wanted to cancel something prior to shipping, KeyMission would have been a good candidate.

This is very a surprising piece of news. I don't particularly think KeyMission was a bad move. I think Nikon 1 was. Not a bad move, but a terrible move. Since the day it was announced my reaction was "tsc tsc tsc." The DL Series, on the contrary, seemed to me to be a solid product, specially the 18-50. What a pity.

Link | Posted on Feb 14, 2017 at 13:54 UTC

"The OLED panel in the hybrid optical/electronic viewfinder is being run at a faster refresh rate, but it's still essentially the same spec as on the previous model." Faster refresh rate, essentially the same spec, part of something that hasn't changed. Hmm...

I like when a camera maker does this with at least one of their cameras, modifying it only slightly every replacement.

Link | Posted on Jan 30, 2017 at 13:34 UTC as 51st comment
In reply to:

iae aa eia: I'm happy to see Fujifilm doing this. It doesn't make sense to move from film to digital and have big sensors in so expensive cameras only. It feels like living the USA, where you have plenty of F150s, Tacomas, Silverados, etc, and move to, let's say, Germany, where the biggest you will find are Rangers, Amaroks, Frontiers, etc. In the beginning, alright, due to technological and demand reasons, but now camera companies can be bolder and make juicier (whatever way you can interpret that; for one's hands, for instance) cameras.

Yeah, and that's another reason why this Fuji makes more sense to me. But, I must say that a camera like the D500, even if they remove the mirror from its successor, they should keep the size about the same (in my opinion), even if they can make it smaller. The reason is that a camera aimed at professionals or semi-pros don't need to be small and light, even if they have to purposefully add size to it and mass to make weight, since too light and small cameras may not be as good for professional use, or some kind of professional uses.

Link | Posted on Jan 22, 2017 at 14:28 UTC
In reply to:

marike6: Best, most inspirational president in my lifetime. Master orator, good family man, like him or not, he always carried himself with class and dignity. Leaving office with a 60% approval rating in such a polarized political climate speaks volumes.

The problem is not what he is like to you, personally speaking (I like him, how he speaks, his good humor, his ii-iiif if-if-if-if; he looks and sounds nice, and should be a good friend to have fun), but the problem is how he's leaving the United States politically speaking. It's tense, not less divided, weak before the world, without a word, and giving more ears to the minority than the majority. The minority is supposed to be cared for, not the center of a whole 8 years of a government.

It's ridiculous that that stupid and dangerous clockboy visiting the WH, the transgender bathrooms issue, his chicken position against broken words in the middle east and Russia, among other unbelievable things come to my mind when I think about Obama's gov't for more than a minute. Come on!

Nice pictures, by the way.

Link | Posted on Jan 21, 2017 at 23:41 UTC

I'm happy to see Fujifilm doing this. It doesn't make sense to move from film to digital and have big sensors in so expensive cameras only. It feels like living the USA, where you have plenty of F150s, Tacomas, Silverados, etc, and move to, let's say, Germany, where the biggest you will find are Rangers, Amaroks, Frontiers, etc. In the beginning, alright, due to technological and demand reasons, but now camera companies can be bolder and make juicier (whatever way you can interpret that; for one's hands, for instance) cameras.

Link | Posted on Jan 20, 2017 at 02:03 UTC as 3rd comment | 2 replies
In reply to:

Lars V: Might not be ideal for a digital sensor. Not a retrofocus design.

The retrofocus design is only helpful in cameras that have a mirror, forcing short focal length lenses to compensate the extra distance, and old digital cameras that the sensor pixels were deep, cutting off part of the light traveling at very angled paths. Neither is a problem with this camera.

Link | Posted on Jan 17, 2017 at 02:08 UTC
On article CES 2017: Hands-on with the Kodak Super 8 (426 comments in total)

I think it would be more interesting if Kodak had launched a similar product but for 16mm film. It makes no sense to me filming in a film area that small, not even as a nostalgia thing.

Two observations about the article:
1. Although I understand the relation between the lens aperture compared to an equiv in FF, the calculation made, and it makes sense, for practical information though, is absolutely pointless. For practical puposes, the lens will transmit as much light as a 40mm f/1.2 would in FF;
2. "can be set in the camera's menu" (slide 6). I have seen a lot of people writing genetive case with object-object, but it is not right, is it?

Link | Posted on Jan 7, 2017 at 21:31 UTC as 113th comment | 1 reply

I think that I still have to see multilayer sensors a standard to believe digital has really surpassed analog. At low ISO, pictures taken with Sigma's Foveon sensor are unbeatable. Nothing compares to the depth produced by a multilayer sensor.

Link | Posted on Jan 6, 2017 at 02:01 UTC as 82nd comment | 4 replies
On article Happy Holidays from DPReview (150 comments in total)

Merry Christmas, you all at DPR too!

Link | Posted on Dec 25, 2016 at 17:33 UTC as 94th comment
On article Sigma releases price and availability for sd Quattro H (370 comments in total)
In reply to:

Saurat: "Reached out..." This appears to be the latest twee and illiterate Americanism to blight the English language. Well, I for one will not put up with the plague and I declare myself offended and insulted having to read such bilge. The word 'contacted' was still in use last time I checked and this noun splendidly describes your action. 'Reached out' is teenage hipster nonsense.

As a non-native English speaker, I've found it interesting and funny how the use of 'reached out' instead of 'contact' called that much attention in a negative way in this context (I wonder if it express in a such way in other contexts). It is a little hard for me to put it into words, but I can get the difference and don't think 'contact' would pass the same idea, although very close. I had learned once that one will use more romantic words to sound formal or smarter or something, but I never really minded to make sure this is true. For me it's not because my language is romantic, so while an anglicized word will sound exoctic to me, 'intelligent' or 'particular' and the like will sound so to English speakers. Well, my intention is not to judge, but just expose my surprise.

Let me ask a question to you that are native English speakers. Does the use of more romantic words sound better (more natural and/or fluent) in a casual conversation?

Link | Posted on Dec 19, 2016 at 21:01 UTC
On article Throwback Thursday: the dual-lens Kodak EasyShare V570 (21 comments in total)

I owed one and I liked it in many ways, but one day I asked a friend to put it in his bag but he left the pocket open and as we were getting in a car at night, it fell off the bag between the car and the curb and we didn't notice. We only realized that hours later and someone had already claimed its new ownership.

Link | Posted on Dec 9, 2016 at 03:09 UTC as 6th comment

Very interesting! I always wanted to see how they sliced cameras and lenses and stuff. Thanks!

Link | Posted on Nov 12, 2016 at 21:04 UTC as 41st comment
On article Throwback Thursday: Olympus C-3040 Zoom (121 comments in total)
In reply to:

sportyaccordy: I wish you guys would talk more about these cameras in a modern context. I don't really care what your thoughts on it were when it came out. What made it significant? What was its impact? What were your personal experiences with it? Context is everything.

Yeah, I agree. If I want to know their thoughts back then, just go read its review. They can get a used one, use it a little, and give some thoughts, how it feels, looks, etc, now, but of course, cutting some slack for some obvious things that may not need to be talked about, like how the screen is small or how few pixels it has, for example.

Link | Posted on Nov 11, 2016 at 00:22 UTC
On article DPReview Asks: What was your first camera? (766 comments in total)

The first camera I have ever shot with was my mother's Kodak Instamatic 177x.
My first camera was a Sonora Love.
My first digicam was an Aiptek Pocket DV.

Three poopoo.

Link | Posted on Nov 6, 2016 at 02:07 UTC as 136th comment
Total: 232, showing: 21 – 40
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