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: 244, showing: 21 – 40
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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 32nd 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
On article Things we found at CP+ 2017 which had been cut in half (89 comments in total)
In reply to:

iae aa eia: Thanks for the cuts-in-half! Wow, man, more than 30 elements in that Canon 200-400?! That's a lot for a telezoom. About the Sony 99, that optical housing where a pentaprism was once located is the autofocus module, I believe. They could have lowered the top of the camera to take away some of that emptiness. Maybe they didn't do that for design purposes?, as it could make the camera look quite different from its predecessor?

Built-in flash? Where? And tell Sony where it is. Yeah, they could have made it even more compact. It didn't pass me a good impression seeing that amount of empty space atop.

Link | Posted on Feb 27, 2017 at 04:45 UTC
On article Things we found at CP+ 2017 which had been cut in half (89 comments in total)

Thanks for the cuts-in-half! Wow, man, more than 30 elements in that Canon 200-400?! That's a lot for a telezoom. About the Sony 99, that optical housing where a pentaprism was once located is the autofocus module, I believe. They could have lowered the top of the camera to take away some of that emptiness. Maybe they didn't do that for design purposes?, as it could make the camera look quite different from its predecessor?

Link | Posted on Feb 27, 2017 at 02:39 UTC as 6th comment | 2 replies

Well, it really seems Nikon is gonna have a tough 100th anniversary celebration. I am very sorry for the company and its costumers and/or fans. Congrats for the sarcasm in the article. Unfortunately, it was deserved. By the way, I think some lens makers could offer cut-in-half lenses for collection. I would suggest to cut the lenses too so that you can see their shape. With a set of lenses they can make two kits, and the interior lenses could be without any special treatments and not made to the standard expected for the lenses in a real product, but only the front and rear elements would. The half of the lens body could be a mock-up of the original, and there could be a minipedestal so that we could put in standing, like those miniature planes. My guess is that it would cost considerably less than the real product, perhaps 1/10, and I would definitely buy one or more.

Link | Posted on Feb 25, 2017 at 15:13 UTC as 68th comment | 1 reply

This kind of display is still not pleasing enough. Too much space between each one of them, but I understand why. The drones have to be small ones. The smaller the better, because they can fly closer to each other and move faster, making small moves quicker and standing still more steadily. Well, I think.

Link | Posted on Feb 25, 2017 at 14:56 UTC as 33rd comment | 1 reply
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.

Although I like Pentax, I'm not. I have no camera at the moment. 43.2mm is the standard focal length for FF, and that's why I said that. Pentax just happens to hit it when they launched a 43mm. Ok then, let me have myself satisfied with the 40mm, just as there are lots of 50mm, which is 7mm away from the standard FL but are sold as standards. Why then, a 35mm? Just 5mm difference to the 40?

Link | Posted on Feb 24, 2017 at 19:30 UTC
In reply to:

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

@Revenant @MrBrightSide Well, sometimes we have to write in extreme details so that some folks like you two understand.

When I say the sensor produces, I mean it allows to be produced. Another thing. Although you can get a similar DoF with a brighter lens in the FF format, a more even center and corner bokeh is achieved with a smaller aperture, and this is the reason why a standard 2.8 lens produces a better bokeh than a, let's say, 1.4 in a smaller sensor. Look for examples and you'll easily see that.

Shots taken with this Fuji standard lens full opened produces much less vignetting and much more even bokeh from corner to corner. Now try to step a FF standard FL lens to 2.8 and take a picture. You get the eveness in terms of vignetting nullification, but definitely not the same charming DoF of the medium format.

Link | Posted on Feb 24, 2017 at 16:48 UTC
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
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