Saturday, January 21, 2017
Friday, January 20, 2017
If you look at the modern history of professional cameras, the concept has always been pretty simple: build it sturdy and keep it stealth. Thinking back to all the flagship pro cameras of the past few decades, the 'all black' flagship is the standard across almost all Japanese camera manufacturers (with some exceptions of course). The Nikon F series (even the titanium versions were painted black), Canon F1 and EOS 1 series, Minolta 9xxx series (and Sony 9x series). Minolta did have that one horrible Maxxum/Dynax 9 in a gold titanium series, but I've never seen them in the hands of working pros. I shot pro sports for years, and all the cameras along the side lines, always black. Black means pro to many in the industry, and I tend to agree. Working photojournalists, sports photographers, conflict zone photographers, wedding photographers, they want a camera that work. The fact it's gold, silver or pink really isn't a priority and often a distraction (or the wrong type of attraction). This is why I understand the original X-Pro1 only came in black, and when the X-Pro2 was released last year, I knew that the engineers and designers would insist to only release it in black.
Thursday, January 19, 2017
When I went to Hong Kong in the summer, I announced on my YouTube channel that I wasn't going to take my personal Ricoh GR. It was a tough decision, but I had my reasons (I explain it in this video). People thought I was giving up on my Ricoh GR, that I was a total Fujifilm and Leica convert. This couldn't have been further from the truth. I don't own any Fujifilm or Leica gear, I just review them. Yes most of my videos are about these two brands, but that's because I review cameras, that's my job. My Hong Kong trip was for work and there was no personal time to take my own pictures for myself. That's why the GR stayed at home. A month later I took off to Osaka with my wife to visit my little brother and his family. Guess what? I took my Ricoh GR in conjunction with the Fujifilm X-T2 and XF 23mm f/2 WR. Did I have fun with the GR and was it still a significant photographic tool? Yes and yes!
Wednesday, January 18, 2017
|Fujifilm X-Pro 2 Graphite Edition, X100F, X-Pro2, X-T2 with booster grip, X-T20, XF 50mm f/2 WR|
Wednesday, January 11, 2017
|Fujifilm X-T2 with XF35mm f/2 WR. ACRO + Ye|
I apologize for my lack of posts for the past.... few years. As you know, I've shifted my focus to my YouTube channel and Instagram account, and for that I feel badly. My blog started it all. My blog helped me through some pretty tough times. I use to post to my blog similar to how I post to Instagram, snapshots with short and sweet stories. This is no longer true. The past few months have been insane. I took on a project in Hong Kong that was bigger than I could handle. In 3 weeks I shot almost 40 videos, shot with 5 different cameras, much of which I still have not edited. I've started about 4 articles on my blog, but they're all in draft mode. Each article is long with lots of pictures, and I guess that's been my format for a while. Maybe I should change back to the old format? Perhaps I should start slowly again with smaller, shorter articles with a single point or thought? How about a single picture (or two) with absolutely no thought? Yes, that's what I'll do.
Saturday, December 24, 2016
|XF10-24mm f/4 R OIS|
Saturday, November 12, 2016
Digital medium format. If you're already confused with the whole 'full-frame' equivalent terminology, then this is going to confuse you even more. Let's just say that in the days of film, 35mm (24mm x 36mm) was the most common format to use. 95% of all cameras were in this format. Once we went digital, it made the most sense to reference this format as the universal standard in terms of how we refer to the focal length of a lens. The problem is, not all the sensors were the same size. Welcome to the crop factor phenomena. An 18.5mm lens in the APS-C format (24mm x 16mm) gives the approximate field of view of a 28mm on the 35mm format.
Thursday, September 22, 2016
|Leica M-A with 35mm Summilux Asph. Shot with CineStill 800T film. Approx 1/60th f/2.8|
Monday, August 8, 2016
**Thanks to everyone who contributed to this campaign. It was a success and I was able to complete all the projects necessary. This project has now come to a close. Anyone contributing to my PayPal account from now on is making a general donation to my website and YouTube account. I will still email back a thank-you but this project is now closed for new contributors. Thank you very much for your support. I will leave this post up and follow up with a new one soon.
In less than 2 weeks I'll be in Hong Kong on a work assignment. MonogramAsia has invited me to shoot a series of YouTube videos for their upcoming event with renowned landscape photographer Michael Kenna. To accomplish this, I asked Ryan from Arcade Original to join me on this project as my videographer and editor. Since I'll already be in Hong Kong with no family obligations (my wife is not coming) I decided to produce some smaller projects for myself. I'm flying out a week early with Ryan and we're going to hook up with some old and new friends to shoot some unique videos. I will also have some pre-production equipment and review cameras with me from Fujifilm, Leica and Canon (sorry no Ricoh). Because of this, I have some unexpected expenses to cover. To raise extra funds, I wanted to do so in a creative way, as well as offer unique content for those who wish to help. Instead of selling prints, conducting workshops or asking for outright donations, I decided to create a private IG account. How will this funded IG project work?
Friday, July 15, 2016
|Leica M-D with 35mm f/1.4 Summilux. 1/250th sec f/4 @ ISO 400|