NEWS: Amazon fires everyone in Colorado.

This is due to a new law similar to one being discussed in California, ABX8 8 and SBX8 8.

If passed in California, I get fired and this site's main sources of income go away, too. This site would cease to exisit as we know it, amd my family no longer has its primary source of income.

More information on my Home Page.

 

Holy Cow: A New Reference Is Crowned.

Back in 2007, Nikon released the 14-24mm f/2.8 AF-S, which was the world's first ultrawide FX zoom that stayed sharp, even in the corners, even at f/2.8, even at 14mm.

It was beyond any other ultrawide Nikon or Canon SLR lens, fixed or zoom, that had ever come before. The 14-24mm AF-S was so good that it spawned an entire generation of people who went through all sorts of contortions to mount the 14-24mm on their Canon cameras, since Canon had, and still doesn't have, any ultrawide lens that can come close. Heck, people also shoot Zeiss 18mm and 21mm ultrawides on Canon for the same reason: Canon ultrawides don't measure up if you look too closely.

Now that I've had the new Nikon 16-35mm f/4 VR in my sticky little hands for a couple of days, and got out to my favorite test range in Arizona to do a shoot-out among them, I was astounded at what I saw when I finally called them up on the 30" Apple Cinema Display back at the lab.

If you split pixels, of the 16-35mm f/4 VR and 14-24mm /2.8 AF-S that I shot-off against each other at the range, the smaller, less expensive and more practical 16-35mm f/4 VR is actually a bit sharper than the old 14-24mm /2.8 AF-S!

Mind you, only if you test lenses for a living will you notice the difference between the two, but it scared the heck out of me.

For actual photography, where you're not looking at the corners at 100% as shot in daylight at full aperture, any of Nikon's other ultrawides works just as well for real-world image quality. Scarce few people, myself included, will ever notice any real differences for real subjects worth shooting at normal apertures.

 

NEW: Nikon Ultrawide Zooms Compared.

 

NEW: Nikon Package Steals.

Some of these deals are so good it's as if Nikon is giving some of it away.

 

NEW: Canon Rebates. (buy them here)

The good news is that rebates are back, and they double when you get a Canon 5D Mark II at the same time.

The bad news for people needing just the 5D Mark II body is that Adorama's $2,500 package deal for the Canon 5D Mark II body with many extras went away. As with all deals, you have to jump on them while you can.

 

Nikon 16-35mm VR

Lucille's, 16mm at f/4, 1/15 sec. original © file.

I got my hot little hands on a production copy of the Nikon 16-35mm VR this weekend.

As expected, it's the sharpest Nikon wide zoom other than the 14-24mm AFS. If you're counting pixels, the new 16-35mm VR is significantly sharper on digital than any of the older 18-35mm, 20-35mm f/2.8 or 17-35mm f/2.8 AF-S.

When looking at the original file for the snap above, recognize that depth-of field at f/4 is what's limiting sharpness. My D3, just like a drunk driver, focused on the pole in the middle.

If you're just taking great pictures, the sharpness difference doesn't matter, and you should be guided by size, weight and price, at which point, the 18-35mm is about as good at half the price with half the weight.

Distortion of the 16-35mm is strong, but easy to fix at 16mm, and no big deal from 20-35mm.

The 16-35mm VR is built to solid amateur standards, the same as the 18-200mm VR and 24-120mm VR. The outside is entirely plastic. It's exterior isn't professional metal, like the 17-35mm f/2.8 AF-S and 24-70mm AF-S.

I see no mention of a 5-year USA warranty for the 16-35mm VR, to which I've become accustomed with other Nikon USA lenses.

To my pleasant surprise (talk about how low my standards have become with Nikon), the 16-35mm VR I saw from Adorama is made in Japan, not China and not Thailand.

After using it for a few days, it's clearly a winner. Full report coming, of course.

 

Nikon 16-35mm VR

Lucille's, 16mm at f/4, 1/15 sec. original © file.

I got my hot little hands on a production copy of the Nikon 16-35mm VR this weekend.

As expected, it's the sharpest Nikon wide zoom other than the 14-24mm AFS. If you're counting pixels, the new 16-35mm VR is significantly sharper on digital than any of the the 18-35mm, 20-35mm f/2.8 and 17-35mm f/2.8 AF-S.

If you're just taking great pictures, the sharpness difference doesn't matter, and you should be guided by size, weight and price, at which point, the 18-35mm is about as good at half the price with half the weight.

Distortion of the 16-35mm is strong, but easy to fix at 16mm, and no big deal from 20-35mm.

THe 16-35mm VR is built to solid amateur standards, the same as the 18-200mm VR and 24-120mm VR. The outside is entirely plastic. It's exterior isn't professional metal, like the 17-35mm f/2.8 AF-S and 24-70mm AF-S.

I see no mention of a 5-year USA warranty for the 16-35mm VR, to which I've become accustomed with other Nikon USA lenses.

TO my pleasant surprise (talk about how low my standards have become with Nikon), the 16-35mm VR I saw from Adorama is made in Japan, not China and not Thailand.

 

 

Workshops

I'm helping lead a workshop coming up in California's Gold Country in the middle of April (scroll down). Precise details are still pending.

For those of you traveling in Scotland instead of California next month, the extraordinary Bruce Percy is doing a workshop to Isle of Eigg at about the same time. People like his workshops, too.

 

Mamiya DM33 Alternatives

If $20,000 isn't your taste for a Mamiya DM33 (I know it's not mine), also consider the similar Mamiya DM28 ($15,000 with camera and lens, or $13,000 for the back alone) or Mamiya DM22 ($10,000 for the camera and lens, or $8,000 for the back alone).

These are more or less the same thing, simply with fewer pixels and with the 645AFDIII body instead, which has the advantage of also working in RealRaw.

The 645DF body of the DM33 works a little better with the DM33 back, but has no RealRaw ability.

 

Mamiya DM33 Alternatives

If $20,000 isn't your taste for a Mamiya DM33 (I know it's not mine), also consider the similar Mamiya DM28 ($15,000 with camera and lens, or $13,000 for the back alone) or Mamiya DM22 ($10,000 for the camera and lens, or $8,000 for the back alone).

These are more or less the same thing, simply with fewer pixels and with the 645AFDIII body instead, which has the advantage of also working in RealRaw.

The 645DF body of the DM33 works a little better with the DM33 back, but has no ReaRaw ability.

 

Route 66.

NEW: Photographs from Route 66.

Phooey on this digital baloney. I got better pictures, more of them, and had more fun doing it, shooting cameras from the 1950s on Route 66 the other week. I hope you enjoy them, since it took me a week to produce the web pages.

Taking the photos and having them scanned was simple. Writing all the pages and making all the links took a week, regardless of how easy and how much fun it was to shoot them.

Shooting real cameras for a change, I think I made more and better pictures than ever before. Yay!

 

Medium Format Madness!

Mamiya DM33.

NEW: Mamiya DM33 Review.

NEW: Sharpness Comparison: Mamiya DM33, Canon 5D Mark II, LEICA M9 and Nikon D3.

NEW: Tonal Differentiation Comparison: Mamiya DM33, Canon 5D Mark II, LEICA M9, Nikon D3 and Canon S90.

NEW: High ISO Comparison: Mamiya DM33, Canon 5D Mark II, LEICA M9, Nikon D3 and Canon S90.

 

OPINION: 28mm f/1.4 AF-D versus 24mm f/1.4 AF-S

Should one upgrade from the 28mm f/1.4 AF-D to the new 24mm f/1.4 AF-S?

I've only had limited time with the new lens and over ten years with the old lens, but from what I've seen, the new 24mm lens is at least as good as the old 28mm. Your decision will be based on if you're shooting old cameras, and simple economics.

If you're shooting manual-focus film cameras, or old moldy AF cameras like the N6006 or even the F4, stick with the AF-D.

If you're shooting recent AF or digital cameras, like the N75, F5, F6, or anything digital, by all means, get the new AF-S.

In each of these cases, the AF and aperture-selection technology is more appropriate. See Nikon Lens Compatibility and read down the appropriate columns for your camera.

For anything digital, go for the new lens. Unlike the old lens, with the new lens, just grab the ring at any time for instant manual-focus override. With the old lens, you have to rotate a switch to do the same thing!

Here's the real reason the upgrade is a no-brainer:

The 28mm f/1.4 AF-D is as much a collectors' item as a tool for pros. Therefore, it sells for $3,000 - $5,000 used today.

The new 24mm f/1.4 AF-S sells new for only $2,200.

Unless you're shooting 1990s or earlier film cameras, sell the 28mm f/1.4 AF-D, pocket $1,000, and buy a brand-new 24mm f/1.4, before everyone else gets their 24mm f/1.4s at the end of March and erodes the used price of the 28mm.

This is an easy recommendation. Nikon is paying you to make the upgrade!

 

OPPINION: 28mm f/1.4 AF-D versus 24mm f/1.4 AF-S

Should one upgrade from the 28mm f/1.4 AF-D to the new 24mm f/1.4 AF-S?

I've only had limited time with the new lens and over ten years with the old lens, but from what I've seen, the new 24mm lens is at least as good as the old 28mm. Your decsion will be based on if you're shooting old cameras, and simple economics.

If you're shooting manual-focus film cameras, or old moldy AF cameras like the N6006 or even the F4, stick with the AF-D.

If you're shooting recent AF or digital cameras, like the N75, F5, F6, or anything digital, by all means, get the new AF-S.

In each of these cases, the AF and aperture-selection technology is more appropriate. See Nikon Lens Compatibility and read down the appropriate columns for your camera.

For anything digital, go for the new lens. Unlike the old lens, with the new lens, just grab the ring at any time for instant manual-focus override. With the old lens, you have to rotate a switch to do the same thing!

Here's the real reason the upgrade is a no-brainer:

The 28mm f/1.4 AF-D is as much a collectors' item as a tool for pros. Therefore, it sells for $3,000 - $5,000 used today.

The new 24mm f/1.4 AF-S sells new for only $2,200.

Unless you're shooting 1990s or earlier film cameras, sell the 28mm f/1.4 AF-D, pocket $1,000, and buy a brand-new 24mm f/1.4, before everyone else gets their 24mm f/1.4s at the end of March and erodes the used price of the 28mm.

This is an easy recommendation.

 

NEWS: SAN DIEGO COUNTY LIBRARY HOSTS PHOTOGRAPHY WORKSHOPS

I got a phone call from someone who says they just won an NEA grant, so herewith are the proceeds as sent to me to share:

:Public Will Have an Opportunity to Learn Useful Concepts of Digital Photography

In conjunction with reading The Grapes of Wrath by John Steinbeck as part of the “Big Read” national grant, the San Diego County Library will host a series of photo workshops. The workshops are designed to promote better public understanding of photography concepts and techniques. Photo workshops will be focused on teaching techniques of documenting people at work and introducing the public to telling and sharing a story via digital photos. The workshops will be led by Lisa Huber, an expert freelance photographer and graphic designer, living in Louisville, KY. The schedule of the workshops is the following:

“How to Document People at Work”
San Marcos Senior Center, 111 Richmar Ave, Saturday, March 6, 2 PM
Turk Family Center, 8804 Balboa Ave, Wednesday, March 10, 6 PM

“How to be an Armchair Photojournalist”
Lemon Grove Branch Library, 8073 Broadway, Tuesday, March 9, 4:30 PM
Rancho San Diego Branch Library, 11555 Via Rancho San Diego, Thursday, March
11, 6 PM
Del Mar Branch Library, 1309 Camino del Mar, Saturday, March 13, 10 AM
Descanso Branch Library, 9545 River Dr., Saturday, March 13, 2 PM.

In addition to teaching the public the useful and creative concepts of
digital photography, the workshops will underline the enduring theme of The
Big Read grant – work culture in the United States. The “How to Document
People at Work” will emphasize the rich American tradition of capturing
people behind their daily work activities. The first part of the workshop
will focus on examining techniques, used by Farm Security Administration
photographers to effectively and realistically capture the Great Depression
laborers. The second part of the workshop will aim to teach the public basic
operation of digital camera, composition, and techniques of photographing
people, transferring photos to the computer from camera, and more. The
techniques of operating a digital camera will be also taught in the other
workshop – “How to be an Armchair Photojournalist”, where Huber will
elaborate on how to tell a story with digital photos and share them online.
The workshop will also focus on creative ways to use and display digital
photos.

Lisa Huber is a non-traditional and avid photographer. Huber received a
Bachelor of Arts in Fine Arts with an emphasis in Photography from the
University of Louisville in 1998, and a Masters in Fine Arts in Photography
from Virginia Commonwealth University in 2001. She has taught photography for
over nine years for such institutions as Jefferson County Adult Education,
Louisville Free Public Library, and Bernheim Forest. Some of her past and
present clients include Kentucky Museum and Heritage Alliance, official
Kentucky Derby Photographic Archives, and Honorable Order of Kentucky
Colonels. Huber enjoys nature photography, teaching non-traditional
photographic techniques and experiencing the world through her students’
eyes.

The workshops are free for the public. Please, note that public is advised to
bring own digital camera to be able to practice during class. For more
information, please, contact Susan Moore at (858) 694-2448."

 

NEWS: Mamiya DM40.

$22,000, with 645 DF camera and 80/2.8 lens.

$20,000, back only to fit various cameras.

Available later this month.

Press release from Mamiya:

"Elmsford, NY - March 1, 2010 - Mamiya today announced the addition of the new Mamiya DM40 to its lineup of professional large-sensor DSLRs. Featuring a resolution of 40 megapixels with a peak capture rate of .8 seconds per frame and a sustained capture rate of 60 frames per minute, the Mamiya DM40 is the industry’s fastest large-sensor DSLR.

The heart of the DM40 system is the new "DF" camera-core technology, developed by Mamiya, featuring two user-selectable shutter systems: leaf or focal plane. In demanding daylight situations, photographers can use predictable high speed flash synchronization to fill-in or overpower even the brightest ambient light on one of three new leaf-shuttered lenses designed by Schneider-Kreuznach and manufactured by Mamiya. The lenses - available in focal lengths of 55mm, 80mm, and 110mm - deliver an effective maximum flash sync speed of up to 1/1600th of a second. For more conventional situations, photographers can choose any one of 15 other world-class Mamiya optics, from 28mm to 300mm APO, designed for use with the cameras’ focal plane shutter system.

Also newly announced, the Mamiya DM40 Digital Back will be available for those customers who wish to obtain the latest in high-speed and resolution digital capture for their existing Mamiya or large format camera. Supported cameras include: Mamiya 645AFD series, 645DF, Mamiya RZ series (via optional adapter), Mamiya RB series
(via optional adapter), and 4x5 view cameras
(via optional adapter).

Specifications
CCD: 44 x 33mm, 40 Megapixel
Largest file size: 240 MB 16 bit TIFF
ISO: 80-800
Capture rate: 0.8 sec/frame
Digital imaging user interface: 6x7cm LCD touchscreen"

 

OBSERVED: Nikon 13mm f/5.6 sold on eBay.

I guess the market is climbing for these, and this one is missing the CA-2 filter wallet, yikes!

You can see my full Nikon 13mm review for details on this lens.

If any of you are looking for one of these, let me know, because I might know of some people who have them in the USA, with the filter cases, and with outer cases in much better condition than that one.

 

NEWS: SAN DIEGO COUNTY LIBRARY HOSTS PHOTOGRAPHY WORKSHOPS

I got a phone call from someone who says they just won an NEA grant, so herewith are the proceeds as sent to me to share:

:Public Will Have an Opportunity to Learn Useful Concepts of Digital Photography

In conjunction with reading The Grapes of Wrath by John Steinbeck as part of the “Big Read” national grant, the San Diego County Library will host a series of photo workshops. The workshops are designed to promote better public understanding of photography concepts and techniques. Photo workshops will be focused on teaching techniques of documenting people at work and introducing the public to telling and sharing a story via digital photos. The workshops will be led by Lisa Huber, an expert freelance photographer and graphic designer, living in Louisville, KY. The schedule of the workshops is the following:

“How to Document People at Work”
San Marcos Senior Center, 111 Richmar Ave, Saturday, March 6, 2 PM
Turk Family Center, 8804 Balboa Ave, Wednesday, March 10, 6 PM

“How to be an Armchair Photojournalist”
Lemon Grove Branch Library, 8073 Broadway, Tuesday, March 9, 4:30 PM
Rancho San Diego Branch Library, 11555 Via Rancho San Diego, Thursday, March
11, 6 PM
Del Mar Branch Library, 1309 Camino del Mar, Saturday, March 13, 10 AM
Descanso Branch Library, 9545 River Dr., Saturday, March 13, 2 PM.

In addition to teaching the public the useful and creative concepts of
digital photography, the workshops will underline the enduring theme of The
Big Read grant – work culture in the United States. The “How to Document
People at Work” will emphasize the rich American tradition of capturing
people behind their daily work activities. The first part of the workshop
will focus on examining techniques, used by Farm Security Administration
photographers to effectively and realistically capture the Great Depression
laborers. The second part of the workshop will aim to teach the public basic
operation of digital camera, composition, and techniques of photographing
people, transferring photos to the computer from camera, and more. The
techniques of operating a digital camera will be also taught in the other
workshop – “How to be an Armchair Photojournalist”, where Huber will
elaborate on how to tell a story with digital photos and share them online.
The workshop will also focus on creative ways to use and display digital
photos.

Lisa Huber is a non-traditional and avid photographer. Huber received a
Bachelor of Arts in Fine Arts with an emphasis in Photography from the
University of Louisville in 1998, and a Masters in Fine Arts in Photography
from Virginia Commonwealth University in 2001. She has taught photography for
over nine years for such institutions as Jefferson County Adult Education,
Louisville Free Public Library, and Bernheim Forest. Some of her past and
present clients include Kentucky Museum and Heritage Alliance, official
Kentucky Derby Photographic Archives, and Honorable Order of Kentucky
Colonels. Huber enjoys nature photography, teaching non-traditional
photographic techniques and experiencing the world through her students’
eyes.

The workshops are free for the public. Please, note that public is advised to
bring own digital camera to be able to practice during class. For more
information, please, contact Susan Moore at (858) 694-2448."

 

NEWS: Mamiya DM40.

$22,000, with 645 DF camera and 80/2.8 lens.

$20,000, back only to fit various cameras.

Available later this month.

Press release from Mamiya:

"Elmsford, NY - March 1, 2010 - Mamiya today announced the addition of the new Mamiya DM40 to its lineup of professional large-sensor DSLRs. Featuring a resolution of 40 megapixels with a peak capture rate of .8 seconds per frame and a sustained capture rate of 60 frames per minute, the Mamiya DM40 is the industry’s fastest large-sensor DSLR.

The heart of the DM40 system is the new "DF" camera-core technology, developed by Mamiya, featuring two user-selectable shutter systems: leaf or focal plane. In demanding daylight situations, photographers can use predictable high speed flash synchronization to fill-in or overpower even the brightest ambient light on one of three new leaf-shuttered lenses designed by Schneider-Kreuznach and manufactured by Mamiya. The lenses - available in focal lengths of 55mm, 80mm, and 110mm - deliver an effective maximum flash sync speed of up to 1/1600th of a second. For more conventional situations, photographers can choose any one of 15 other world-class Mamiya optics, from 28mm to 300mm APO, designed for use with the cameras’ focal plane shutter system.

Also newly announced, the Mamiya DM40 Digital Back will be available for those customers who wish to obtain the latest in high-speed and resolution digital capture for their existing Mamiya or large format camera. Supported cameras include: Mamiya 645AFD series, 645DF, Mamiya RZ series (via optional adapter), Mamiya RB series
(via optional adapter), and 4x5 view cameras
(via optional adapter).

Specifications
CCD: 44 x 33mm, 40 Megapixel
Largest file size: 240 MB 16 bit TIFF
ISO: 80-800
Capture rate: 0.8 sec/frame
Digital imaging user interface: 6x7cm LCD touchscreen"

OBSERVED: Nikon 13mm f/5.6 sold on eBay.

I guess the market is climbing for these, and this one is missing the CA-2 filter wallet, yikes!

You can see my full Nikon 13mm review for details on this lens.

If any of you are looking for one of these, let me know, because I might know of some people who have them in the USA, with the filter cases, and with outer cases in much better condition than that one.

OBSERVED: Nikon 13mm f/5.6 for sale on eBay.

I guess the market is climbing for these, yikes!

You can see my full Nikon 13mm review for details on this lens.

 

Back from the 1950s!

Roy's, 2010 for 1956.

NEW: Contact Sheet from 1956 on Route 66, Today!

 

Save the Date: Come see Los Angeles Times and Pulitzer Prize winning photojournalist Don Bartletti speak to our photo club in San Diego later in March. Free (I think), and worth ten times the price!

 

Observed: 120 years of National Geographic in a 6-DVD set.

This is certainly an easier way to store every issue from 1888 - 2008 than keeping them on your shelf.

I haven't seen them, but everything else National Geographic does has been of epic quality, so I would expect that this is the same.

The uncanny thing I see when I look at National Geographic's printed retrospectives is how great all the photos look, because National Geographic knows how to convert from film to print like no one else's business.

 

Back from the 1950s!

Roy's, 2010 for 1956.

NEW: Contact Sheet from 1956 on Route 66, Today!

Save the Date: Come see Los Angeles Times and Pulitzer Prize winning photojournalist Don Bartletti speak to our photo club in San Diego on March 16th. Free (I think), and worth ten times the price!

Observed: 120 years of National Geographic in a 6-DVD set.

This is certainly an easier way to store every issue from 1888 - 2008 than keeping them on your shelf.

I haven't seen them, but everything else National Geographic does has been of epic quality, so I would expect that this is the same.

The uncanny thing I see when I look at National Geographic's printed retrospectives is how great all the photos look, because National Geographic knows how to convert from film to print like no one else's business.

Save the Date: Come see Los Angeles Times and Pulitzer Prize winning photojournalist Don Bartletti speak to our photo club in San Diego on March 17th. Free (I think), and worth ten times the price!

 

Deal: Someone on eBay has a Leica 21mm f/4 with a finder available for $1,000, complete. (The finder usually sells for $250 by itself.)

I used one of these on Route 66 last week, and it's an awesome lens. Its the only 21mm ever sold by Leica that takes the standard 39mm filter. It's superb for RealRaw on an M3, M2 or M4, but not very useful on an M9.

 

Observed: 120 years of National Geographic in a 6-DVD set.

This is certainly an easier way to store every issue from 1888 - 2008 than keeping them on your shelf.

I haven't seen them, but everything else National Geographic does has been of epic quality, so I would expect that this is the same.

The uncanny thing I see when I look at National Geographic's printed retrospectives is how great all the photos look, because National Geographic knows how to convert from film to print like no one else's business.

 

QUESTION: Mamiya DM33 33MP medium-format digital camera.

Dear readers: I might be able to get my hands on one of these to review for you, courtesy of OC Camera, who sells them locally here in sunny Southern California

If I can, I'd love to hear what questions those of you who are actually considering purchasing one might like to know.

These are way out of my league, which is why I'd love to know what aspects of performance are important to people who actually buy these $20,000 studio cameras.

They have very little in common with anything from Nikon, Leica or Canon.

The DM33 has a 36 x 48mm sensor making 6,666 x 4,992 pixel images and works at ISO 50 - 800.

QUESTION: Mamiya DM33 33MP medium-format digital camera.

Dear readers: I might be able to get my hands on one of these to review for you.

If I can, I'd love to hear what questions those of you who are actually considering purchasing one might like to know.

These are way out of my league, which is why I'd love to know what aspects of performance are actually important to people who actually buy these $20,000 studio cameras.

They have very little in common with anything from Nikon, Leica or Canon.

 

NEW BOOK: Creative Nature and Outdoor Photography by Brenda Tharpe. It was just released on Tuesday, yay!

The first edition has always been my favorite single book to recommend to people who want to learn how to take better pictures.

This new edition has been revised for digital shooters. The first edition covered the same things, but covered them from a film perspective. I still suggest the first edition for those of you upgrading to film since it covers film types and color filtration, while I recommend this new edition for everyone, especially those of you shooting digital. This new edition is even better because it approaches everything from a completely camera-agnostic perspective.

What makes these books by Brenda Tharpe stand out so far from every other book about how to take pictures is that they are the only books I've read that cover everything you need to know, like seeing light, shadow, balance, color, interpretation, texture, and everything that matters in just one book, and wastes no space on the things that only get in the way.

My only quibble is that my website was left out of the "Useful Websites" section at the end, but tough, I never claimed that anything I've done here is useful, hee hee.

Bravo, Brenda.

 

Old Plastic Lens

Ryan and his first new dinosaur. bigger.

Everyone was making fun of my beat-up 22-year-old Nikon AF MICRO-NIKKOR 55mm f/2.8 earlier this week as I walked around PMA with it on my Nikon D3.

People forget so quickly. The 55/2.8 is one of photography's sharpest lenses, and more than fast enough for available light shooting. So what if it's been out of production for over twenty years; it's still one of the finest autofocus FX lenses ever made for anything by anyone, even if Nikon's marketing decided to offer 60mm lenses instead today.

I shot this in program auto which chose 1/60 at f/4, Auto A3 WB, STANDARD Picture Control with +1 saturation. It was too light and too cool, so I darkened and warmed the image an RGB curves adjustment layer in Photoshop CS4.

This snap was cropped from a horizontal BASIC MEDIUM JPG.

 

NEW: PMA 2010 Report.

Tokina 16-28mm f/2.8 FX.

While you may have seen some of my live coverage during the show earlier this week, that one page has now grown to three pages with everything I think was interesting.

Have fun reading; it has all been re-written.

 

NEW BOOK: Creative Nature and Outdoor Photography by Brenda Tharpe. It was just released on Tuesday, yay!

The first edition has always been my favorite single book to recommend to people who want to learn how to take better pictures.

This new edition has been revised for digital shooters. The first edition covered the same things, but covered them from a film perspective. I still suggest the first edition for those of you upgrading to film since it covers film types and color filtration, while I recommend this new edition for everyone, especially those of you shooting digital. This new edition is even better because it approaches everything from a completely camera-agnostic perspective.

What makes these books by Brenda Tharpe stand out so far from every other book about how to take pictures is that they are the only books I've read that cover everything you need to know, like seeing light, shadow, balance, color, interpretation, texture, and everything that matters in just one book, and wastes no space on the things that only get in the way.

My only quibble is that my website was left out of the "Useful Websites" section at the end, but tough, I never claimed that anything I've done here is useful, hee hee.

Bravo, Brenda.

Old Plastic Lens

Ryan and his first new dinosaur. bigger.

Everyone was making fun of my beat-up 22-year-old Nikon AF MICRO-NIKKOR 55mm f/2.8 earlier this week as I walked around PMA with it on my Nikon D3.

People forget so quickly. The 55/2.8 is one of photography's sharpest lenses, and more than fast enough for available light shooting. So what if it's been out of production for over twenty years; it's still one of the finest autofocus FX lenses ever made for anything by anyone, even if Nikon's marketing decided to offer 60mm lenses instead today.

I shot this in program auto which chose 1/60 at f/4, Auto A3 WB, STANDARD Picture Control with +1 saturation. It was too light and too cool, so I darkened and warmed the image an RGB curves adjustment layer in Photoshop CS4.

This snap was cropped from a horizontal BASIC MEDIUM JPG.

NEW: PMA 2010 Report.

Tokina 16-28mm f/2.8 FX.

While you may have seen some of my live coverage during the show earlier this week, that one page has now grown to three pages with everything I think was interesting.

Have fun reading; it has all been re-written.