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Camera Gear

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    XE-1, X20
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    XF 14, XF 18-55

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  1. Interesting you make that comment about B&W processing, veejaycee. I find myself drawn to that more and more as well, especially for situations where the scene may be dramatic, but the color isn't, if you know what I mean? Great shots, BTW. I'm always amazed at folks who can shoot great street photos. Bob
  2. New work from Lara? No matter - nice shot.
  3. Grew up on Kodachrome, then Velvia came along and I haven't looked back. Loved Provia for its fidelity to ASA 100 black and white Polaroids before shooting for real, and its color was second only to Velvia in my mind, but I just always come back to the look of Velvia for my landscapes. And yes, the film simulations are one of my favorite features about Fuji digital.
  4. ...it's been raining in the southeastern US. Chickamauga Dam, near Chattanooga, TN at full throttle. TVA's hydro power group is wailing at this point over all the lost energy. I'm hoping to get a shot at sunset on the first day following the cessation of rain - if that ever happens.
  5. Snagged one last week from KEH. Barely had time to shoot a few frames between rain storms before taking off for a conference. Haven't seen contrast like this since my Contax G2 with a 21mm on it. Hopefully by the time I get back to town, the weather will have improved and I can go do some actual testing. So far, so good, though it is a hefty little beastie...
  6. Has anyone had any luck locating a tripod collar that would fit the 55-200 zoom? I wasn't crazy about the 5-230 I took to Alaska this summer, so it's one of the lenses I just traded towards a 16-55 this week. Then it hit me - half of the issue of sharpness was due to the fact that even with the camera and lens on a tripod - there was a fair amount of vibration just due to the fact that it's the camera that is connected to the tripod - not the lens. And that's the same for the 55-200. I know the fast telephoto zooms/primes have built-in collars but I was wondering if anyone has located an aftermarket - or another camera brand - that is of the proper inside diameter to work on a 55-200.
  7. Boy, that 16-80 is sooo close. As remarked in my other thread on the 16-55, I always wanted a 24 - 105 2.8 from my employee communications photo days. That's always seemed perfect to me. The f4 max bothers me a bit, even though I know it's needed to keep the size and cost down (relatively speaking). Oh, well, just yesterday pulled the trigger on a trade for a mint 16-55. We're about to see how that works out.
  8. Thanks. There's something about rendering clouds in B&W that appeals to me as well. I find I just start with the B&W conversion set at the default infrared setting and then start messing around from there. Depending on the inherent contrast - or lack thereof - in an image, the green filter setting can also be an interesting starting point. But basically, I just like messing with the sliders to see what comes out. Shifting most everything from that trip to B&W pulled my fat out of the fire big time - there literally was so little contrast and definition that there were only a couple of situations from an entire week's worth of shooting where I could even consider the images to be "no color" color.
  9. Thanks. I'll look into those. Never sure how that worked in PS, makes sense that an EXIF editor would enable the copyright info to be added. I do miss the days of handing off my rolls of transparency film to the lab and saying "do a clip test and run it".
  10. Nice dance images, Eric. Do you shoot for the companies professionally?
  11. A couple of views of Tracy Arm and the inner passage from our 40th anniversary Alaskan cruise last month. Also, a couple of views from a hillside above Lake Watauga in upper East Tennessee on the North Carolina border. 14mm and 18-55 for all of these. Still having fun with B&W sliders in Affinity, especially where contrast is next to nothing.
  12. If another mint or excellent-plus 16-55/2.8 shows up in KEH's shop, I'd be tempted to swap my 14 and 18-55 for it. I used a 21 on my G2 Contax for years so obviously the 14 provides the same function but the 24 mm length always seemed to work a little better for me when I was working with Nikon and Canon film cameras. Hence my interest in the 16-55, which is as close as I've yet seen to my ideal (and almost mythical) 24-105/2.8 lens. I would add that I don't have the funds to just purchase it or the 16 prime outright, so I'd have to trade. Latest thoughts and experiences? And I'll add that I am certainly am happy to stick with my current combo for walking around since I have a body for each lens.
  13. Hi Rob, that path sounds vaguely familiar, though I've never been able to completely move away from having some sort of lens length selection - hence my now departed X20. The jump from the X20 to the XE-1's larger sensor was pretty amazing. While I'm not chasing the latest sensor and as a former 4x5 shooter both my XE-1 and XT-1 process plenty fast enough, I can see where folks might not like the XE-1's lack of speed compared to newer versions. I found the XT-1 and XE-1 combo with a 14 and 18-55 a very nice combo on a recent trip to Alaska. Fast and intuitive when set to aperture priority exposure and autofocus.
  14. Anyone know a way to add the copyright info to the EXIF data - or otherwise - using Affinity? I know how it's done in PS, just not seeing anything in Affinity other than (apparently) unchangeable "N/A" listings in the EXIF data display for an image that's open in the software. Pretty likely that I'm missing something, so wanted to check. Many thanks!
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