NarrBL

Lives in US Minor Outlying Islands US Minor Outlying Islands
Joined on Jun 6, 2003

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Total: 169, showing: 1 – 20
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On article Sony FE 100mm F2.8 STF bokeh demystified (345 comments in total)
In reply to:

Flashback: To get this level of creamy bokeh with a conventional lens, you'd probably have to go Leica Noctilux.

That's going to cost you 6x times the price and suffer a degree of softness wide open. In its favour however, it's much smaller and maintains its speed.

Androole, that's interesting.

How would you avoid the image itself vignetting, though?

May be able to compensate in post, perhaps, as it would not be as severe as some I worked out by better fitting a filter mount...

(Edited back out that iPad had made you Androcles, if you may enjoy that ;) )

Link | Posted on Feb 17, 2017 at 21:11 UTC

As you might suspect, these are mainly sketches and an example painting or two from historical artists, but these are very valuable for study -- you can download or browser-peruse quite detailed images a link or two beneath each work.

The Rijksmuseet is also represented on this Creative Commons page -- bravo indeed for museums opening their basements this way, Ab.

Which recalls one of the richest experiences of the National Gallery in London, that down an obscure staircase or two was such a basement, so many truly interesting not-approved-by-the-reigning-bishop pieces, all hung with no margins on schooll bulletin-board style stands, rows and rows of them. I can still recall some visual images...

Link | Posted on Feb 17, 2017 at 20:28 UTC as 5th comment
On a photo in the Nikon D5600 sample gallery sample gallery (1 comment in total)

Wow. That is a great image, Wenmei. In each of several aspects.

Thanks for sharing...

Link | Posted on Feb 4, 2017 at 03:16 UTC as 1st comment
In reply to:

NarrBL: Allison, it is great to see these, if it would be useful to also include one or two visible before of the desert outposts that the camps were. There were also photos of families in them, who were not so badly treated there at least, if losing rights of citizenship and their livelihoods and their freedom were not their larger fate. It was good at least to see how they lived.

There's an interesting novel which borders on the camps and explores the general feelings, complicated, with Nisei (second generation) and later citizen; families, which is Snow Falling on Cedars, by David Guterson.

The U.S. government did not understand any breadth Japanese culture or its possible reasonings, thus hired top anthropologist Ruth Benedict of the University of California to study and illuminate, resulting in her justly famous and fascinating The Chrysanthemum and the Sword, which is very well worth reading.

(cont'd)

At the same time, there were the submarines off the coast, and the general aggressiveness of attempt to silence America for South Pacific acquisitions. So, a hard point to judge -- especially in a time when few could understand their new citizens.

David Guterson's story, and even the film made of its outline, to some extent, with fine actors such as Max von Sydow, show the way the character of immigrant Japanese was so often sturdy and solid, self-evident, here around lives dedicated around fishing. Time spent for either of them would be richly returned.

Link | Posted on Dec 13, 2016 at 06:52 UTC
In reply to:

NarrBL: Allison, it is great to see these, if it would be useful to also include one or two visible before of the desert outposts that the camps were. There were also photos of families in them, who were not so badly treated there at least, if losing rights of citizenship and their livelihoods and their freedom were not their larger fate. It was good at least to see how they lived.

There's an interesting novel which borders on the camps and explores the general feelings, complicated, with Nisei (second generation) and later citizen; families, which is Snow Falling on Cedars, by David Guterson.

The U.S. government did not understand any breadth Japanese culture or its possible reasonings, thus hired top anthropologist Ruth Benedict of the University of California to study and illuminate, resulting in her justly famous and fascinating The Chrysanthemum and the Sword, which is very well worth reading.

(cont'd)

In some senses the Japanese can teach us well, how complicated truly all of we humans are, especially any who think they are somehow straightforward. There's a great point in Ruth Benedict's book, however, which is that once going to America, even the Issei (first generation) parents had firmly shut the door, or had it shut for them, to the possibility of ever joining the Japanese culture again. Thus, they tended to be entirely decicated to their American lives, as visible in the hardworking and honorably worked professions they joined, much of it in farming, which put them beside many, many Americans in their time.

Of course there were a few spies sent over, not to mention the foreign service persons in Washington -- but real ones would disguise, surely, and they could pose as Chinese, Hawaiian, and so forth, hardly likelly to allow themselves to be rounded up.

cont'd once more...

Link | Posted on Dec 13, 2016 at 06:51 UTC

Allison, it is great to see these, if it would be useful to also include one or two visible before of the desert outposts that the camps were. There were also photos of families in them, who were not so badly treated there at least, if losing rights of citizenship and their livelihoods and their freedom were not their larger fate. It was good at least to see how they lived.

There's an interesting novel which borders on the camps and explores the general feelings, complicated, with Nisei (second generation) and later citizen; families, which is Snow Falling on Cedars, by David Guterson.

The U.S. government did not understand any breadth Japanese culture or its possible reasonings, thus hired top anthropologist Ruth Benedict of the University of California to study and illuminate, resulting in her justly famous and fascinating The Chrysanthemum and the Sword, which is very well worth reading.

(cont'd)

Link | Posted on Dec 13, 2016 at 06:51 UTC as 24th comment | 2 replies
On article Fast Five: Sony Cyber-shot RX100 V Review (416 comments in total)
In reply to:

valenttin: More than five years ago I buy Olympus XZ1. After so much time (and after so much technical evolution) my expectations was to find that camera, with those specifications, at a somehow similar price, even if the sensor is 1". But is more than double. So, don't judge me for my big NO...

A bit of a smear job (no pun) on the XZ-1, surely.

I shoot an XZ-2, which has wonderful image quality, and there are many who are very enthusiastic on the XZ-1, some even by comparison.

The pity is only that the gorilla entered the market, so that Olympus didn't pursue the "1in-type" XZ-3.

Which by the way would have continued a very usable and capable touch screen, among the other finely thought out aspects of the design, serving all levels of photographic ability and interest.

Link | Posted on Nov 4, 2016 at 00:24 UTC
On article Fast Five: Sony Cyber-shot RX100 V Review (416 comments in total)
In reply to:

amatoer: Cons: 'Green yellows & cool greens in JPEG aren't the most pleasing'

One could perhaps add: Maybe not so good for JPG-shooters and unskilled RAW-shooters, where pleasant color (accuracy) may be the most important aspect of a camera. More than bells and whistles.

I'm probably falling into the forum trap (drain?), but...

Why on earth is it that so many don't seem to realize they can _adjust_ the default JPEG colors once to suit their tastes, and then enjoy whatever it is they like without attention?

Each manufacturer provides these, and if I remember, the Sony ones are particularly nicely arranged.

Makers assign base color tendencies according to their own tastes, which are often regional, having to do with actual skin tones as well as traditional differences in 'look' from early photography. This is particularly so in Asia, and not less with the feeling that their home markets are becoming very important -- just as has been true before in the 'west'.

It was the same with many film brands. I could ask why they don't tune for each market, but then we are on another subject, the tendencies of corporations.

I would say, buck up, live in the world as it is, and first adjust that precision instrument you buy -- then enjoy it.

No?

Link | Posted on Nov 4, 2016 at 00:11 UTC
On a photo in the Panasonic Lumix G85 sample gallery sample gallery (1 comment in total)

Must say, it's very nice to keep seeing 'that girl' again, and with her smile quite returned... ;)

Link | Posted on Nov 3, 2016 at 20:52 UTC as 1st comment
On a photo in the Panasonic Lumix G85 sample gallery sample gallery (2 comments in total)

Have a look next door, same image with a little correction that could as easily be set for JPEGs in the camera.

Also, it may just be a white balance problem in the cloudy day, plus that the model's skin tends to be that of a redhead. See image 67 for an also-fpeg-from-camera that looks quite rich.

Link | Posted on Nov 3, 2016 at 20:51 UTC as 1st comment
On a photo in the Nikon 105mm F1.4E ED real world sample images sample gallery (3 comments in total)
In reply to:

NarrBL: Dan, you are not getting worse as an artistic photographer.

This is far from the only example. Cherish that eye ;)

Most welcome, and well deserved...

Link | Posted on Oct 28, 2016 at 20:45 UTC
In reply to:

abortabort: "The camera was the surprise launch of Photokina this year, as many assumed Sony had abandoned its SLT cameras in favor of the more popular mirrorless models."

Sorry DPR but you need to stop listening to internet pundits that claim these things and seemingly everyone repeats until it is 'fact'. I mean what was it exactly that made DPR think it was dead? Honestly question? And why was it a surprise? I mean that's like saying the 5D IV was a surprise. Was it really?

So was it that all models were clearly up to date? Or that Sony clearly spent a lot of time / money / effort developing a new AF sensor module for a 'dying' system, something you questioned when the A77 II came out. Something that 'surprised' you when the A68 came out and now 'surprises you' again when the A99 II was announced. Will you be 'surprised' when the A77 III comes out?

I guess the only time you won't be 'surprised' is when they finally do stop making them.

This is after being 'surprised' by Sony introducing a whopping third camera to their APS-C E-Mount line up, I mean that's way too many right? This of course not that long after DPR made claims that Sony seems likely to be dropping APS-C E-Mount all together (just prior to A6300 being announced).

It seems to me that if Sony don't release something every 3 minutes they are abandoning it, but releasing 'too much' is equally a terrible injustice to your expectations.

Stop listening to internet pundits, maybe it might be worth listening to people when you interview them and they say...

"We are continuing to support XYZ, even though we can't talk about upcoming products".

I think there is a point here, as much as I appreciate the un-dry enthusiasms of the DP crew these days. Liveliness is worth a lot ;)

The kind of thing I'd personally like to see less of is the 'now-about-to-be-antique-only-16MP-sensor, quite repetitively, whose denouement turns out to be a 20MP sensor a year later.

Not exactly a grand distinction, yet priming people to wait and wait, not helping the flow for the camera maker either. Marketing departments...often operate on the flimsiest of premises, and with an allergy to many realities even if they could know them, so you have to keep your wits and salt handy, not for the bird's tail....

Link | Posted on Oct 26, 2016 at 22:55 UTC
On article What is equivalence and why should I care? (2364 comments in total)
In reply to:

richshep: If I blank off a full frame sensor in a, say, Sony R7, to 5mm by 8mm, does that mean it will suddenly become a less efficient sensor and produce more noise? This total light stuff is total nonsense.

OTOH grain of pushed-developed Ilford grey-scale film back then led to some very apropos pictures of birds flyng among beach dunes, where the 'sand' extended throughout the image.

It makes me think of a possible treatment for digital noise, to bring the small cameras into even more of the appreciation we have for them. Instead of adding noise thus reducing resolution, as film style plugins presently do, what if they grain-replicated by altering the actual digital noise elements position and sizing? That with some clever desaturation of its colors might turn out to be interesting, no?

In any case, many thanks for an eminently clear description of all the relations of equivalence, in terms that can really build the internalized mental model of it for persons regardless of where they begin from in earlier concepts, just given the chance. This with your patient reply in conversations is a fine thing for us all to appreciate, and I do.

Link | Posted on Oct 16, 2016 at 23:36 UTC
On article What is equivalence and why should I care? (2364 comments in total)
In reply to:

richshep: If I blank off a full frame sensor in a, say, Sony R7, to 5mm by 8mm, does that mean it will suddenly become a less efficient sensor and produce more noise? This total light stuff is total nonsense.

I think this is a very important reply to read carefully, Richard. It brings in the extra dimension Rishi has recently articulated: the random quality of light itself, evident in the darker scenes digital cameras let us explore today.

I like what my Olympus XZ-2 can do very well indeed, but I still can wish for repeal of enough of physical optics that it could return the soft background choices my equally miniature for its time Olympus OM-1 once made possible, interestingly with nearly the same focal length range (35mm and 100mm then, great 'eye-attention-matching' lenses).

With the color films of the day, I seldom noticed noise, subsumed anyway as grain, which as we realize wasn't often unaesthetic.

I saw some wonderful slides from that era, in projection boxes to A1 or A0 size at an exhibition in Basel, and with today's attention the grain was very evident -- but not disturbing.

(cont’d)

Link | Posted on Oct 16, 2016 at 23:36 UTC
On a photo in the Nikon 105mm F1.4E ED real world sample images sample gallery (3 comments in total)

Dan, you are not getting worse as an artistic photographer.

This is far from the only example. Cherish that eye ;)

Link | Posted on Oct 13, 2016 at 04:06 UTC as 1st comment | 2 replies
On article Field Test: Shooting action with the Nikon D5 (118 comments in total)
In reply to:

PhotoKhan: Very thorough, detailed and useful evaluation. Kudos.

Now for a request. Would it possible to get a Canon pro to tag along when making a similar 1DXII action real-life test?

I am not saying this with malice or second intentions, so please don't be offended but given that many of you use Nikon as a private choice and from what I've read in the past, I am starting to get the feeling that you don't "get" the operational side of 1D cameras.

A photographer familiar with them would be, at least, as useful as this one, accustomed as he is with Nikon.

Once more, thank you for this informative and brilliant piece.

Rishi, your points all seem well taken -- yet I think PhotoKhan has a very good request for you as well.

There's fairness -- if you use Nikon guys for Nikon, Canon guys for Canon would be natural, as well as not unhelpful in allowing a more open mind all around, considering the realities of human politics..

On the point of knowing more than pros, well, I am sure that's probably true in a flavoring of cases. But when it comes to the photography that the pro is expert in, surely the shoe can go on the other foot -- and we will all learn, DPReview staff included.

No??

Kind regards, and very often find your commentary quite interesting.

Link | Posted on Sep 10, 2016 at 10:21 UTC
On article Gallery update: Nikon 300mm F4E PF ED VR (54 comments in total)

You know, I think some of the biggest treats on DPReview are these lens galleries. They get better and better, with each of staff contributing their personalities of talent. Richard's polo shots, all one could ask for further is a field of view with the mallet, but the spirit and leather are there, the first one back to Lutyens and the Maltese Cat. Samuel's motorcyles are as he sees them, and the urging to speed. Wen-Mei's images of children and women are precious and interesting. Dan Bracaglia, well, the beauty grows, steadily, Dan. Perhaps from a time of winning from another. It's that growth in each person, that means the most, will mean the most. Thanks to each of you -- Clive

Link | Posted on Aug 6, 2016 at 09:36 UTC as 8th comment

(Cont'd on density...)

I actually think that having survived Amazon and present ad load (partly by wisely hiving some of that off to the attached site) that you are pretty much at an optimum, and should save redesign for the actual content, rather than more appearances.

And, you are doing that. The last year has brought immense improvements in what the site is actually about -- and it keeps getting better, as the encouraged imaginative types keep growing and learning.

I meant the writers and creators of content ideas here particularly, but must say the work on viewers and test comparators has also been a very good job. It's all very much nicer, and has the style and feel of your magazine, to make another deserved (and yes, a little pointed...) compliment.

In all of this, in my opinion, and including those more titularly responsible, you are doing a great job.

Thanks ;)

Link | Posted on Jun 25, 2016 at 06:45 UTC as 109th comment

One thing you might give a try to is an intensity (grayness) control for the white on the black screen. Hot screens unaided may well give uncomfortable contrast, defeating the better actual optical comfort of dark screens.

For some reason I don't think this works as well as a tactic to defeat white screens. Behavior of lcds may mean you lose too much contrast if you lower the white to anything like a printed page with incident light (why books work). Also probably why kindles have unusual screen technology.

One more thing you mustn't do is create any more density than there is. You are right at the edge of blowing iPads not the newest away, and it is beyond annoying what happens then -- can't read through forums or long articles, as the browser 'has had a problem', and forces entire reload, only to do the same again....

Link | Posted on Jun 25, 2016 at 06:39 UTC as 110th comment

That unstoppable pop up was the worst. Please don't do that again.

White? Bad for long viewing (ask even youthful programmers). Bad if you have any sight problems like diabetes, incipient cataracts, normal issues of maturity when many persons do photos, etc.. Particularly bad if you want to sleep after viewing -- read the ample research.

I would,have defaulted black for those reasons, not to say that this is a _photo_ site, with all its well acknowledged reasons.

I know you wanted to look like too much of the web does these days.

Just, I beg you, don't go any small step whatsoever further on grayish, low value and color contrast, no matter what the 'kool kids' seem to have.

/s/

Link | Posted on Jun 25, 2016 at 06:04 UTC as 112th comment | 1 reply
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