So in preparation for my upcoming trip to St. Johns, (which will include much shooting!) I’ve been thinking long and hard about my travel kit. I tend to be torn between the two extremes of taking everything but the kitchen sink (2 bodies, wide zoom, normal zoon, telezoom, fast normal prime, fast portriait prime, macro lens, flashes etc…) and ultra minimalist (1 body, 21mm prime +50-200 zoom)


Both have worked for me in the past, and have their own pros and cons. However now I’m trying to find a middle ground. basically I’m trying to break it down into 2 categories: camera gear and lighting gear. I love the compact/lightweight pentax primes, but shooting on the beach etc… I’d like to avoid lens switches as much as possible. Luckily the new DA* 16-50/2.8 should give me acceptable quality (*almost* as good as the primes, but not quite :-) while staying on my camera 99% of the time.

I’m also debating whether to take the 35/2 or live with 2.8 as my fastest lens. On the one hand I love the 35/2 but on the other hand its one more piece to carry! I do 99% of my shooting at 50mm or less, so really the 16-50 should serve for 99% of everything. Then it comes down to either the 50-200 for the few times I want reach, or ditching the telezoom entirely and relying on my G9 when I need >50mm. I know it sounds crazy, but I kind of like the idea of just running the k10d w/16-50 and G9. That covers me from 24-210mm equiv. I’ll be missing Fast+long, but I really never find myself needing that anyway. plus no need to change lenses on the k10d.

so here’s my tenative list:
K10d
DA* 16-50/2.8
(maybe) 50-200
(maybe) 35/2
Canon G9

Lighting: (for beach portraits/shots)
Pentax 540FGZ
Vivitar 285hv
2x Bogen compact stands
2x westcot 43″ folding brollys (1 white, 1 silver)
40″ collapsible 5-in-1 reflector

(and of course the various batteries, memory cards, filters etc…)

So what is all of y’alls travel kit?

Nov 162007

For all you lightroom users –

Adobe just released 1.3, which adds leopard support among other fixes  (readme)

(notable for me at least is full support for the G9′s raw files – with 1.2 there was a weird issue where the AWB would come out horrendously wrong for some shots in raw (but not all – strange)

another very cool feature, that I had been hoping for is the release of a developer’s “export” SDK.  Hopefully with this out, we should start seeing some export hook-ins like the flickr and various stock site exports that aperture has.

After drooling over this lens since it’s announcement, I finally got my grubby little mitts on the DA* 16-50/2.8. In my opinion, despite the moaning on the various web forums (*cough*dpreview*cough*) this lens is well deserving of Pentax’s “star (*)” moniker.


Build quality is top-notch, definitely “solid”, what I’d expect in a pro-grade lens. SDM focus is fast and accurate. Image quality is excellent – maybe not quite up to the level of the limited primes, but pretty close – easily as good as the comparable canon/nikon offerings (the 17-55/2.8s) especially when you consider that this lens goes to 16 instead of 17(don’t underestimate the difficulty of engineering that 1mm!) all in all an excellent offering. So without further ado, here are some of the first shots taken with it on the k10d. All were shot raw, minimal post processing in lightroom (just some exposure +/-) (click the thumbnails for larger) Nothing special, just some “walking around” snapshots.

Quite a foggy morning this morning, swallowing up the skyscrapers downtown:

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Some fall foliage around Penn’s campus:

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I first checked out flock when it was in it’s early stages… it was an interesting concept, but not nearly mature enough for prime time. My, how things change. I downloaded the 1.0 RC1 the other week, and I am frankly blown away.
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…but…

I’m talking about the new Eye-Fi SD card.  Normally I don’t get particularly excited over a memory card, but this one has wi-fi transmission built in – cool huh? 

Now of couse, as soon as I saw this the gears started spinning.  Ignoring the touted “auto-upload to flickr” type features, I began thinking…
Continue reading »

Event photographers know ‘em.  Fashion Photographers know ‘em.

In the world of off camera lighting they are pretty much ubiquitous. 

*Everyone uses pockewizards*  And until recently there wasn’t much alternative.  If you wanted to fire your flashes off camera you either used a)sync cords b)optical wireless or c)pocketwizards. 

Sync cords and optical wireless both have significant drawbacks.  Basically if you needed to place a light wherever you need it, and have it fire regardsless of circumstances (ambient light, no line of sight for optical wireless) you needed pockewizards. 

then earlier this year Elinchrom released their version of pockewizards called “Skyports”. They have a version that integrates directly with their own strobes, and one “universal” which work with any strobe. 
The kicker is that they are only about 1/2 the price of the ‘wizards. 

Enter RadioPoppers: (http://www.radiopopper.com/)
Still in the “vaporware” stage, their claim to fame is to bring TTL to RF transmitters.  In other words a pocketwizard that preserves your flashes TTL capabilities – pretty awesome, huh?  Of course they are still expensive, about the same price as the Skyports (still cheaper than ‘wizards)  Now if that was it, it would still be a great entrance into the off-camera-flash-trigger world, but the radiopopper folks didn’t stop there…
They just announced that they are stripping the TTL capability of the poppers, and releasing them as a “Jr” version (don’t worry they are still keeping the TTL models) for a whopping $25 per trigger. 

If these are even remotely as good as ‘wizards it will blow the whole market wide open. 

This is definitely going to be an interesting year for “Strobist” folks.  I’m going to wait and see how it pans out, while I suffer along with sync cables for the time being :-)

Oct 032007

Well, it looks like Pentax has thrown their hat into the “superzoom” ring, announcing their upcoming DA 18-250 lens. (that’s a staggering 28-380ish 35mm equivalent!). Judging by the pics, it appears to be similar to the Tamron 18-250, probably the same optical design – although the Pentax will have the famous SMC coating which should give it the edge in performance.

Also, judging by the design it does *not* appear to have SDM or weathersealing. SDM is not a huge deal but weathersealing would have been spectacular on a superzoom – as they are most commonly used as “travel” lenses where conditions are unpredictable and often not the best. I think weathersealing would have made this lens stand out head-and-shoulders over the other superzoom offerings. Pity.

Oct 022007

2007-09-30at21-38-27-pentax-k10d.jpg

40 or 35… 40 or 35… that is the question…
When it comes to a “normal” on the pentax aps-c dslrs, the best options seem to come down to the DA 40 limited and the FA 35.

When I first switched to the Pentax system, what lured me (in great part) was the appeal of the tiny, “jewel-like” DA primes – often known as the “pancake primes” due to their diminutive stature. My first 2 lens purchases were the DA21/3.2 LTD and the DA40/2.8 LTD.

Not having used the DA 40 or the FA35 before, I did a great deal research on the pros and cons of each lens for a normal prime. Eventually I settled on the DA40.

Until LBA struck. I should have known it would happen. Of course, now I have them both.

Now I’m not going to do a “pixel-peeper” oriented comparison of test charts and LW/PH measurements. If you want that, I would point you to the *excellent* photozone.de lens tests:
FA35
DA40

These are just my personal impressions having had and used both lenses for a fair amount of time. I will preface this by saying that both lenses are absolutely top-notch when it comes to image quality, definitely what you would expect from a high quality prime. In terms of image quality, you cant go wrong with either one (pixel peeping aside) So without further ado:

First off, FOV (field of view). At first, this didn’t seem that important to me. The DA40 translates to 60mm (taking the 1.5 crop into account) and the FA35 to ~53mm. Thats only 7mm right? not a huge difference… or so I thought… To me at least, the difference is huge. My photographic style tends toward wide-normal lenses, and I just can’t help feeling a bit constrained by the FOV of the DA40. The FA35 feels perfectly natural to me when I look through it, wheras the DA40 always feels like I’m “being squeezed” just a tad. This is just a personal preference, I know some people love the 40/43 FOV – to me though its just kind of awkward. That being said, I am still comfortable using it as a slightly long normal.

Secondly, Speed. The FA35 is a full stop faster than the 40. nothing much to say bout that, it is defintely an advantage – we’re talking the difference between using ISO 800 vs 1600 indoors. Definitely something to consider if you do a lot of low light photography. (the FA35 is perfectly useable wide open btw, as is the 40)

Third, handling. Both perform very well. The build quality of the DA40 is spectacular – all metal, tight tolerances. wonderful to hold. The FA35 is definitely not as good, but still decent. much more “plastick-y” but still head and shoulders over the build quality of, say, the kit lens.
Both lenses focus very quickly on the K10d, although the DA seems a *bit* faster and maybe a bit better in low light (ironic since the FA is the better low light lens).
The FA35 also has the advantage of being full frame, thus will work on film bodies as well. (Apparently the DA will too, but it is not designed as such and edge performance suffers along with vignetting.)
The DA (being a DA) has the “quickshift” feature – meaning that after the camera autofocuses it automatically disengages the clutch and allows you to manually focus/fine tune without changing the AF setting on the camera (Similar to “Full-Time-Manual” focus). The FA does not have this feature – you must change the switch on the body to manually focus it. I find the quickshift focus very useful, so nod to the DA there.

Finally the big clincher is actually size. If not for this I would have bought the FA and never looked back (despite the DA’s better build quality and quick-shift advantage) However, the one thing that keeps me going back to the DA is it’s unbelievably tiny size. Serously, you have to mount this thing on the camera to appreciate how small it is. It looks almost like a large body-cap rather than a lens. As far as I know it’s pretty much the smallest SLR lens on the market, and at a weight of 90 grams (IIRC) it could almost float away. Stick it on the K100d or the *istDS and you’ve got a kit that’s practically pocketable with SLR+Prime quality. Almost like the “poor man’s Leica” (grin).
I like a compact camera kit, since I like to carry it everywhere. The k100d+da21+da40 are just about as small as you get in the SLR world, and give you a 35mm equiv. and a normal. Hard to pass up, and this keeps me coming back to the DA40.

So as it stands, I’m still undecided which I like more. I find myself using the FA35 more and more now because of the better FOV and speed, but I just can’t give up the size and quality of the 40. It seems to be that the FA is living on my k10 (I guess the rationalization is that it’s already big, so the added size of the FA doesn’t make as much difference) while the DA is pretty much stuck on my k100 for when I want a super-compact “grab and go” camera.

 

 

Sep 172007

No real posts today… too busy playing with my new toy… isn’t she a beauty?

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That’s the FA 35/2 on the front in case you were wondering… quickly becoming my go-to lens alongside the 21/3.2 limited.

Unless you’ve been living under a rock in the photographic community, you are no doubt aware of Canon’s new camera offerings.  The 1ds III, Canon’s new flagship coming in to replace the venerable 1ds II.

 

On paper, the 1ds III is a very impressive offering, and the ‘spere has been abuzz with talk and speculation about its goodies.   However, something surprises me.  All the chatter seems to be about its high MP count, its ISO performance, its FPS etc… but most I feel are overlooking the main innovation, something almost, dare I say, *revolutionary*?

 

Wireless tethered shooting.  Or more specifically – wireless *live view* tethered shooting.

 

Now while this may seem like a mere footnote, buried amongst the laundry list of new features, consider this:

the 1dsII is by most account a studio camera.  The full frame, high MP sensor (and its considerable bulk!) make it the perfect camera for the studio professional doing commercial/fashion/whatever where utmost quality is paramount at the expense of weight and speed.  In this regard the Canon excels, even arguably moving into the territory of medium format.

 

Now tethered shooting is nothing new to the studio shooter.  Being able to see your shots immediately on a computer screen is fabulous.

But consider, in a studio environment – being able to *frame* your shot on a 17″, color calibrated, super high resolution screen.   The mind boggles… even better, your camera doesn’t even have to be plugged into the laptop to do this, giving you free range to move it around the studio.

 

Personally I see this as the most significant innovation of this camera – something that may well totally change the way that the studio professional works!

 

Pentax has a long history of K-mount lenses. This is useful since even their current cameras work with all legacy k-mount lenses ever produced!

of course, figuring out which lens is which gets kind of confusing sometimes as there are so many designations. Here’s a great reference breaking down the various generations of K-mount lenses and their nomenclature:

K – “King”, Manual focus, 1st generation of K-mount lenses.
M –
Mini, Manual focus, 2nd generation of K-mount lenses, smaller than the K models.
A –
Auto aperture, manual focus, 3d generation of K-mount lenses, comes with electrical contacts för the aperture.
F –
auto Focus, 1st generation of autofocus lenses
FA –
auto Focus Advanced, 2nd generation of autofocus lenses, has a more advanced built-in lens chip.
FA J –
auto Focus Advanced Junior, as FA lenses but without aperture rings, for consumers with cheap build quality (plastic lens mounts).
D FA –
Digital auto Focus Advanced, as FA lenses but with extra coating and more telecentric design.
DA –
Digital Autofocus, for the APS-C sized sensor

Star(*) =
Professional lens, pro-quality, exclusive optics.
Limited =
Exclusive quality prime lens, full metal build quality, compact design.

I actually can’t take credit for assembling the list, it comes from Roland on DPreview:

http://forums.dpreview.com/forums/readflat.asp?forum=1036&thread=23026442

Aug 232007

Holy….

just in case you *hadn’t* already heard, Nikon countered Canon’s big release with the announcement of their own flagship camera, the D3.

12.1mp, full frame, yadda yadda yadda…

But the real shocker is that it goes to ISO 25,600!

Yes, that’s right – *2* full stops above ISO 6400

If this mode is even *remotely* useful we may just see Canon unhorsed as king of the speed/reportage cameras (with the 1dmkIII)