In Part Two of my report on the Leica M8, I discuss such things as the camera's ergonomics, its shutter noise, and whether or not it succeeds in making me "invisible" on the streets. Granted, they're not the normal topics one discusses when reviewing a camera. But there's nothing "normal" about the unique requirements of a street photographer, either.
With my street photography proclivities showing no sign of waning, this article finds me continuing my quest for the "perfect" camera. Earlier this year, I opted for a hybrid approach — mounting rangefinder lenses on a Panasonic DMC-G1 MFT body. The experience was reasonably successful. In fact, it was so much better than my previous attempts to coerce either an SLR or a small "enthusiast" camera into reportage duty, that I soon realized I had to go "all in." And by "all in," I mean "a Leica M8." This article discusses my decision process, and how I came to actually possess an affordable one.
Every now and then, we all need a little extra inspiration. Many photographers fall into the habit of looking for photos in all the usual places. But by actively looking for photographs in non-standard places, photographers can find photo opportunities that might otherwise bypass them. This article discusses that "art" of looking for interesting reflections in glass surfaces.
A month after publishing my impressions of the Panasonic DMC-G1 and its ability to adapt M-series lenses, I revisited some of the issues in this article. Paramount among them was a manufacturing issue with the original Novoflex M-to-MFT adapter, which caused many of the focussing problems discussed in earlier articles.
To many photographers, photographic artifacts such as grain, grit, softness, and noise are about as welcome as a rabid Rottweiler. To me, they add texture and intrigue to an image. This article discusses how, after spending several years seeking images of the highest fidelity, I've come full circle and, again, embrace the "texture."
Sometimes a walk is just a walk. Other times (particularly those when you carry a camera), it's a metaphor for everything from the latest financial meltdown to a miserable Vancouver Canucks losing streak.
My discussion of the Panasonic DMC-G1 was originally a four part review. But the fourth post was so long that some people had trouble downloading it. So, I've split Part 4 in half, creating this new "Part 5." It contains my conclusions about the G1's "street" shooting abilities and a (scant) few images.
The nitty gritty. The dirt. The details. Everything you want to know about using the Panasonic Micro Four Thirds DMC-G1 as a "street" camera in a single post... well, OK, "two" posts. The article was so long, it got sectioned into a separate Part 5. Dive in. Enjoy.
After rejecting an SLR, a portable "enthusiast" camera, and a rangefinder film camera, I'm left with only one alternative — micro four thirds. In this article, I discuss the allure of the MFT format and my decision to go there.
In this article, I discuss why a rangefinder is ideal for street shooting and, as such, why a street photographer might actually consider a return to film.
Do you love your SLR? You must not be a "street" photographer. Do you love that little portable enthusiast camera with the faux rangefinder stylings? You, too, must not be a "street" photographer. In this, the first of a five part series, I discuss what I expect from a street photography camera, and why neither the SLR nor the enthusiast cameras have worked for me.
A short, subjective review of the Canon EF 17-40mm f/4L USM with sample images.
