NarrBL

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

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Total: 174, showing: 1 – 20
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On article Throwback Thursday: Minolta DiMAGE X (107 comments in total)

A smile for this article for sure. I had one of these just getting back into photography, living in Switzerland. Many, many memorable shots, including ones in night Fasnacht parades, where the autofocus was so slow that you just panned with the walkers, waiting for the camera to go off. But again, useful and sometimes striking results.

Looking at the samples makes you think of old days and Ektachrome. But at the time, just a little tweaking with Photoshop gave quite a nice look. And the camera actually lasted for many years.

I forgive Phil Askey his rating -- he was too busy those days not explaining how Canon DSLRS just mudded out small details in landscapes or even cruise ship images. And the fan 'discussions' rolled on...

Thanks again. This was great.

Link | Posted on Apr 28, 2017 at 00:51 UTC as 16th comment
In reply to:

tailings: Amusing, but too obvious. It's a joke, but who have you fooled?

...but that was the funniest part...

I think we need something past the bear necessities here, @tailings

Link | Posted on Apr 3, 2017 at 09:46 UTC

This was interesting -- and definitely including Barney's honest stand-behind.

I remember choosing for an original OM-1 (film) two lenses which turned out entirely appropriate: f2.8 each, a 35mm and 100mm also from Olympus.

Both of these were tiny by present standards, and entirely suitable to this camera, so much smaller and lighter than the Nikon that preceded it before being left behind in a taxicab travellling away from Korea. Of course it was the film in the bag i missed most.

These two and the camera were a wonderful combination. I know I had chosen for what I felt two natural ranges were that my unaccompanied eye seemed to see: the general sense and the attention-focused sense of a scene.

I wonder if this framing reason doesn't line up with the way most staff choices turned out?

Anyway, thanks for sharing -- enjoyed.....

And I just realized, the same focal length range nearly fits my XZ-2 of today also.

Link | Posted on Mar 27, 2017 at 19:34 UTC as 109th comment
In reply to:

stadlereric: You have to applaud Nikon for their subject tracking capabilities. I shoot an A7RII and the subject tracking pales in comparison to a friends D500. Why can't a mirrorless camera subject track like a DSLR? The mirrorless gets access to the data more of the time than the DSLR right?

Seems there surely could be an alternate readout mode with much lower resolution information - just some of the rows and columns of pixels. Maybe Sony and otehr mirrorless will come to do something of the sort.

Link | Posted on Mar 27, 2017 at 02:47 UTC

Well, Dan, that eye...

Fresh venue in this lens brings it well...

There's one subject we miss, maybe later.

These are very fine, many of them.

Link | Posted on Mar 1, 2017 at 01:16 UTC as 35th comment
On article Sony FE 100mm F2.8 STF bokeh demystified (355 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? (2417 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? (2417 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
Total: 174, showing: 1 – 20
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