Next 3 all at American artist's James Turrell's 'Skyspace'. The first visit I made a couple of years' back cost me about $200. i was so engrossed trying for shots that I placed my left leg in a water-filled trench, fell and whacked my CV21/4 so hard that it required a repair.
Turrell's art (as understood by this ENGINEER!) is largely concerning the interplay of light, shade and colour. Some time back I was fascinated by the different resolving qualities of my Type 1 35 Cron and my Konica Hexanon-M 35/2. Subtleties such as the diffusion of light from the central roof portal were handled quite differently by the 2 lenses, with the Konica doing a better job.
Edward really like the second (B&W) The way the subjects are placed and looking pulls the eye to the dress and then theres all the contact with the machine. The artificial woman. A sad comment on out times. We have less human contact thus our lives are for sure more artificial. Very nicely seen and captured.
Thank you for the comments Allen Greatly appreciated. Indeed a sign of our times, it's very rare to see people in Bangkok interacting with the real world. Everyone seems to be busy with some electronic device.
I also have posted this before but I read a lot about the bad bokeh/OOF areas with this(35 Lux FLE) lens and I think for a 35mm lens it is really good. Not as pleasing and as creamy as my Canon 200 2L or a .95 noctilux but smokes my Canon 35L and most of the other 35s out there.
A few examples wide open and sorry I know I have posted these here before but I thought they would be appropriate here to emphasize my point.
Allen, those are awesome examples of very nice bokeh. I've seen some nervous bokeh from the lux wide open on Flickr though, but I think it depends on the subject and background distance, and in my opinion, not any better or worse than most 35mm for the M mount.
Edward I know that you know this but I sometimes wonder about a lot of the flicker crowd. Don't we all need to know the limitations of our tools? I can, if I really try, get nervous bokeh form my 200 2L. If I really try hard.
The bigger question should be why shoot wide open with subjects and conditions that would not lend themselves to desirable results? Isn't it our job to shoot in light and conditions that favor our subjects, our message and use the tools to further enhance that? I don't think one would expect to get the same results in a landscape shot at noon as opposed to around sunrise, sunset. Isn't it out jobs to know our equipment, light and other aspects of our craft and when and when not to use certain techniques? Like I said, I can get the 200 2L to give me undesirable bokeh if I really try.
Here's my addition to the CZ love fest: the Distagon T* 28mm f/2.8 in C/Y mount. I bought this lens years ago when all I shot was Canon, but because of heavy vignetting on the Canon, it was relegated to the back of the cabinet, and only recently taken out to try on the Leica M and Sony A7r. Much to my delight, I found that it works great on both.
