KatieInTexas wrote:
I wish my whole world would color shift like this first image. It's simply lovely - and I would settle for those colors everyday.
It was really fantastic light and conditions--all you really see of the shift is a yellowish cast to the top center--well above the bright aspects of the image centers
uhoh7 wrote:
It was really fantastic light and conditions--all you really see of the shift is a yellowish cast to the top center--well above the bright aspects of the image centers
KatieInTexas wrote:
If those aren't the most beautiful, peaceful images .... I just can't imagine. Where in the world is this exactly?
Hi Katie,
Thanks so much for your kind encouragement.
Basically these are shots of early spring on the Oregon Trail between the Camus Prarie and the Snake River. The ones you really like are both looking west across the Snake River Plain to the Owyhee Mtns on the horizon. If you look close you can see remaining snow caps from about 45 miles.
One dramatic feature is the incredible river canyons in the basalt of the Snake River Plain and near to these shots, but to the east, in the deep canyon of the SF Boise River.
You can see shots from the whole area:
Danskin
My Nex-5 is away for repair, so I carried a VG10 in the truck, but only a P&S for the ride where you get to see the canyons.
Now, as to why I could post two shots with my Contax G 21... I normally shoot stopped down more than a bit, and could never get a Cornerfix profil that cured the colourshift I was getting from this lens, or others as well (ZM 25, Leica 24mm Elmarit).
Then I shot this church, and, of course, in a darker environment, did not stop down as much (f:4.0), just one stop above wide open. And, lo and behold! much less colourshift.
I tried it again today, remaining at f:4.0, did another colourfix profile, and it seems to work.
So my question is: could it be that stopping down, which reduces the diameter of the light source, increases colourshift because the light rays get even further away from longitudinal that when the lens is wide open?
The old 1950's Leica Summaron 35 3.5 I picked up recently to play around with on the NEX is proving to be a much better lens than I expected. Shot wide open, it's surprisingly sharp but has a certain softness and low contrast that lends itself well to some portrait types. Stopped down, it gains contrast and becomes tack sharp. It's main weakness (or plus, depending on how you use it) is that it is highly susceptible to flare. Here's quick portrait to show the look the lens has wide open:
Thanks Philippe! I'm still getting used to it and the camera but so far so good. And the Contax G 21mm? Did you have to shave the fins to mount it or use a specific adapter? Please do tell.
I just installed the clearviewer and lens shade described on dpreview and in the Alt forum here. I must say, it is a simple inexpensive solution that will greatly increase my focus speed. Plus I can use it like an slr bringing the camera to my eye. I like it!
Bob, the Contax 21 fits on the NEX, but just. Meaning that the fins touch, but only barely, so that the mount still works. That is with the Kipon adapter, and I believe that the situation is pretty much the same with the Metabones. Which one are you using? Do you plan on buying other G lenses? I will try my new approach to eliminating colour shift, and see if indeed my 21 is useable, and, of course, my 28.
My contax G adapter is from Rainbow systems. It came with the 45mm when I purchased it. I've also considering an Olympus OM wide angle. At this rate, I'll have quite the assortment of lenses and adapters! Still looking and watching though . . .
KatieInTexas wrote:
Sebboh - The lens looks good so far! I must say - you have the most cooperative ducks there. I cannot even get a sharp shot of my stupid dogs with my two Rokkors yet! I'll keep trying.
the adult ducks are super easy since they move slowly and steadily. you can use the 7x zoom and track them. ducklings are a pain since they are erratic and never hold still. for them i don't zoom in and just shoot 3 frame bursts in speed priority as they pass through the focus plane.
