genji wrote:
Peire, you mentioned a while ago in another thread that “the 135/2 Apo Sonnar is optically the best out of 423 lenses I currently have”. When you say that the Jupiter 9 85/2 and Helios M44-2 58/2 had to wait more than 3 years for their turn, does that mean that you have a strict rotation whereby each time you go out to photograph you pick one (or two or three) lenses to work with in turn? Although that goes against the conventional “wisdom” that one should learn to use a single lens well, it strikes me that your method would provide a thorough education in which lens might be best suited for a particular task....Show more →
I tend to use all of my lenses on regular basis.Not easy with limited time and ever growing collection :-).Of course,favourites are taken out more often,but yes,there is a kind of a roughly planned rotation, though not strict.
This flexible,yet pretty consequent regime allows me for testing new acquisitions along with getting more in deep with less frequently utilized lenses and using my favourites whenever needed.
I found it very promising to have always someting new to try out,something that I want to come back to for more experience and something well known for the predictable and pleasurable performance.
You are right.The system helps me also to pick up the lens that suits best particular task.Subjects,seasons of the year,weather conditions,lighting and mood.They are among the most important factors influencing my pick-up-lens decisions.
Well, the Grays Harbor Beauty College has a new location -- right across the street from their old building. I shot it from the alley side first, then had to shoot the front to confirm it was situated right next to the local porn shop! Seriously, you can't make this stuff up!
Also added an updated shot of the alley entrance to the old building, while it is under construction. Still being enjoyed by a couple of the locals with time to kill.
Love the last one best because of the little crashing wave.
I can see why you return to Maine yearly. I've walked a bit in the state on the AT. So many treasures there.
Been going there most of my life. It’s part of my soul now, don’t know how else to describe it.
MedicineMan404 wrote:
Love the last one best because of the little crashing wave.
I can see why you return to Maine yearly. I've walked a bit in the state on the AT. So many treasures there.
Most of people are pretty experienced photographers here, this is self obvious (=ignore this post) but for noobs this seems to be helping, at least few local junior photographers I discussed with recently. They assumed that polarizer just affects some colors a little and can be easily reproduced in Lightroom / PhotoShop. They did not realize that they can have radical effect how boke is rendered. And maybeI'm crappy explaining, but they did not get it even after explaining so I had to take example photo, this more or less also describes my "process" for nature boke photos, thou I don't use this technique very often.
I had this scene where sun was behind light clouds on right side. I first shoot this normally how I do; adjusted polarizer to minimize the glare from forest undergrowth, this is usually also very beneficial for DOF -> boke transition zone rendering as contrast is reduced:
I can see immediately in viewfinder that I find the boke highlights in middle little too strong and distracting from composition point of view. As it's clear sky behind the subject I adjust polarizer for the sky:
However I find the forest undergrowth bad looking, so for final image is done in PhotoShop by asking PhotoShop to align these two images in layers and using bottom part of of image from image where polarization reduces glare from forest undergrowth and top part of image from the image polarizer for the sky. As can be seen also boke highlight size also reduced visually (it doesn't physically but it appears so as the light causing highlight was reduced). While editing image I noticed that I like the larger boke highlights in top left, so I used top left of image is from image which was polarized for ground - Carl Zeiss APO-Sonnar T* 2/135 ZE @ f/3.2, 1/25s, A7 mkII @ ISO 100, Hoya HD CIR-PL 77mm:
Sony Planar T* 50mm F1.4 ZA SSM @ f/2.8, 1/60s, A7r @ ISO 100, Haida NanoPro MC C-POL 72mm
Carl Zeiss APO-Sonnar T* 2/135 ZE @ f/2.0, 1/40s, A7 mkII @ ISO 100, Hoya HD CIR-PL 77mm
Sony Planar T* 50mm F1.4 ZA SSM @ f/2.8, 1/20s, A7r @ ISO 100, Haida NanoPro MC C-POL 72mm
Sigma 24-35mm f/2 DG HSM Art @ f/7.1, 1/5s, A7(Kolari v2) @ ISO 100, B+W 82 KSM HTC-POL MRC nano
