Photographs, Photographers and Photography

December 31, 2007

Goodbye 2007

Filed under: Photography — Thomas Pindelski @ 11:06 am

And thank you, Bubba

2007 was a satisfying year photographically but a much more satisfying one financially. And money is needed to pursue this hobby of photography so it’s a vital issue for this photographer.

You see, I manage money for a living. Mine and others’. And yes, I put my money where my mouth is. And that was a big bet against Bubba in the last half of 2007.

Let me tell you about Bubba, because we will all be paying higher taxes in 2008 to bail this loser out.

Bubba, you see, left school (if an American public school can even be graced with that title) at 16 to work in construction. Demand was great, the skill set dictated only the ability to press the trigger on a nail gun and, before you knew it, Bubba’s driveway saw that new Camaro (with 0% financing, of course, from the cretins in Detroit) and a lovely 8 miles-per-gallon SUV for the missus. Real Men drive GM, Bubba reassured himself.

Heck, what did Bubba want with education? He lied on his loan application, got an option-ARM loan on which he need not make any payments for a couple of years, then got the home reappraised twice, each time taking money out as the real estate bubble grew. Suddenly, Bubba had $300,000 in the bank and, well, who needs a job anyway with that sort of stash? So Bubba quit work and took the missus on a Caribbean cruise to celebrate his good fortune and the old lady’s new blonde dye hair job. The one with the streaks in it. Top dollar.

But Bubba, you see, is what is known as a swing voter. When he does manage to make it to the polling booth – not easy in view of his six pack of Bud a night habit – he labors mightily to cross the right box, a cross being about the limit of his writing skills. The most he ever reads is the tattoos on his arms and entertainment consists primarily of six hours of sports every evening on his new, widescreeen, flat panel TV. But when it comes to voting, Bubba knows which side his bread is buttered, and it’s the side which says ‘mortgage relief’. That’s something Bubba desperately needs as he has $800,000 of debt on a home he can’t sell for $500,000. Given that he’s a NINJA (No Income, No Job or Assets) borrower, his greatest fear is that the FBI turns up and slams him and the missus in the local pokey (at taxpayer expense, of course) for commiting a federal crime. He stole the money from the lender only no gun was required. Bubba and his lender were made for each other – the one too stupid to read, the other too greedy to care. Both will assure you they need government help.

So America has no choice for 2008 – Bubba must be saved, as the alternative of letting the major US banks – each of which is insolvent – collapse is simply not a choice in a culture that has abrogated capitalism and accountability for socialist protectionism in the interest of buying votes. With over $1 trillion of mortgage and real estate losses baked into the system (but not yet out of the oven) that’s some $6,700 per vote! And you thought Tammany Hall was corrupt?

But for every loser there’s a winner in the game known as the stock market, and the Bubba portfolio could not have been easier or more predictable as a moneymaker in 2007.

So I give you 2008 – the Year of Bubba. Not to mention the biggest recession since ….. well, you know, since the little matter back in ‘29.

Thanks for paying for all my gear needs, Bubba, and I do hope California subcontracts your jail term to some place really cheap and hot. Downtown Phoenix is quite the place in the summer, I understand, especially when the bankrupt gaol’s air conditioner goes on the fritz.

December 26, 2007

Picture frames

Filed under: Photography — Thomas Pindelski @ 10:29 am

Almost ready for prime time

A year ago I fantasized about the idea of using a flat screen TV to show changing pictures on the wall.

In one fell swoop you could have displayed an infinite number of images with vastly superior dynamic range, owing to the provision of transilluminated rather than reflected light, and none of the expense and agony of mounting, matting and framing. Indeed, when you realize that my one man show required framing of thirty large prints at a cost in excess of $3,000, two or three large LCDs could have been procured at that price with far greater utility value. Why, you could even watch the pap that passes for American television on them if you wanted a change. Best of all, you could display the world’s great paintings all in one place.

That idea is now taking fruition in the form of affordable LCD picture frames which do exactly what I was rambling on about, so I made my father-in-law the guinea pig this Christmas season and gave him a Coby DP-772 7″ picture frame to better display his family snaps.

It’s selling for some $100, including two faceplates and a handy remote.

I included a 1 gB SD card (all of $9!) and a USB-powered card reader (another $9!), and dumped a thousand family snaps on the card using iPhoto’s Export function. Well, firing it up we immediately encountered a snag. The pictures did not break properly betwen frames, like an old mistuned TV set. Digging deeper we discovered the operating system is very crude and determined that a few workarounds were called for.

First, if you check the Amazon reviews for picture frames you will quickly learn that they are all over the place, from one to five stars. This sort of thing usually suggests either poor quality control (evidenly not the case here), poor design or incompetent users. Unlike Apple’s Macs, these things are too new to ‘just work’.

As my father-in-law pointed out, once we inserted the SD card the images looked fine, then moments later the image break anomaly manifested itself. This suggested that the Coby’s OS was reading the files and defaulting the frame spacing to some lowest common denominator. Now our source pictures are in at least three aspect ratios; 4:3 from my wife’s Canon Digital Rebel, 3:2 from my 5D and 16:9 widescreen from the Lumix LX1. So we decided (I say ‘we’ as my father-in-law is an engineer so this sort of thing is right up his alley) to force the iPhoto export to constrain the long dimension of the picture to 500 pixels, just larger than the Coby’s 480 pixel width. The Coby uses a 16:9 aspect ratio for the screen.

Here’s how the iPhoto export settings look:

More snags. After we erased the originals on the SD card, iPhoto ‘08 refused to export more than 500 or so images directly to the SD card (yet more lousy quality control by Apple), so we dumped them to a separate directory on the iBook then dragged-and-dropped the directory onto the SD card.

Still not right. The Coby continued to show the old erased images, all messed up, as well as the new ones. So back to iPhoto and the MacBook and this time we did an ‘Empty Trash’ after erasing everything, re-exported the snaps and all was perfect. The ‘Prefix for sequential’ box is very useful as it prevents like numbered pictures from being overwritten as you add more. And a 1gB SD card can accommodate some 30,000 images ….

We also learned that directories are meaningless to the Coby – it reads everything in JPG format on the disc and dumps it to the screen. However, that does not mean that sub-directories are useless. They help you to catalog images and provide another way around the duplicate file name problem. Some manufacturers provide wi-fi streaming, but I avoided that as it’s another needless overhead problem for the Mac’s CPU.

Now everything was sweetness and light. We set the time interval on the Coby and it displays a gorgeous image every few seconds. It’s a mains powered device, so portability is limited. USB, SD, CF, MMC and xD card slots are on the back and you can also plug the device directly into your computer with the provided cable. We avoided this approach as our hard worked Macs need all the CPU cycles they can get, and this would just slow things down.

The screen uses the latest TFT LCD technology, meaning that the picture remains bright no matter how far off axis you view it. Finally, the device includes speakers to play music, though music slideshows from iPhoto are not supported, as far as we can tell. We have yet to test the speakers. I don’t know about you but I like to view my pictures in silence.

There are lots of these frames hitting the market and prices will only fall. This one works perfectly, if you follow the above instructons and disregard the negative and ill-informed reviews on Amazon. A little effort and it works wonderfully.

I can’t wait for the 50″ model ….

This sort of thing will obsolete traditional museums as we know them. No more expensive trips to the Metropoltan or Uffizi, no more jet lag, no more crowds and no more wasted jet fuel. And just think of the money to be made tearing down all those archaic museums for replacement with some good old fashioned high rise condominiums.

December 25, 2007

More Christmas carols

Filed under: Photographs — Thomas Pindelski @ 8:58 am

At least one child ‘Thinks Different’

Happy Christmas!


5D, 24-105mm at 70mm, 1/30, f/4, ISO 1600, processed in Aperture, of course.

December 22, 2007

Christmas Carols

Filed under: Photographs — Thomas Pindelski @ 3:27 pm

It’s that time of the year

Our boy is busy practising his carols at the local church, so yours truly dropped by and snapped a few pictures. Here is one from today.


5D, 24-105mm at 105mm, 1/30th at f/4, ISO 1600

There was another photographer there using flash and a tripod, no less. How little did he know what he was missing! And the 5D still has two stops in reserve as it can be cranked up to ISO 3200, plus one stop of underexposure in this low contrast situation.

As usual I had to adjust the 5D’s poor auto white balance to take the yellow skin tones out, caused by the incandescent lighting.

December 21, 2007

2007 Best (and Worst) of the Year awards

Filed under: Photography — Thomas Pindelski @ 5:21 pm

No great new technology breakthroughs

If 2007 has been a disappointment on the hardware front for photographers it’s mostly owing to the lack of any new breakthrough technologies. Cameras added megapixels, generally for the worse, as too many on a small sensor means loss of sharpness. Imagine if one of those miniscule sensors in a consumer digital with, say, 10 mp, was translated to a full frame one. The typical 7mm x 5mm sensor is but one twenty-fourth of the area of a full frame one. So 10 mp would scale up to 240 mp on a full frame sensor! At that size, the pixels start to interfere with the wavelength of light and the result is that definition suffers. More is not always better.

Nikon finally added a full frame sensor in its D3 which is wonderful news for Nikon users, provided they have lenses to cover the full frame. Sony/Minolta and Panasonic seem to be getting ever more serious about their DSLRs and I would be delighted to see full frame digital cameras from both in 2008.

Except for the one issue of dust handling (and an LCD screen which is worthless in sunlight) I continue to be over-the-moon delighted with my Canon 5D and its pocket companion, the Panasonic Lumix LX1, with its glued on 28mm viewfinder. The latter awaits transplant to the DP1. Until the Sigma comes along, the Lumix is the modern Leica for this user. Smaller, quieter, cheaper than the M8 and with a great Leica lens, it does the job when the vast bulk of the 5D cannot be tolerated. I would expect the 5D to be replaced soon with a like body which adds dust removal for the sensor, like the other Canon DSLRs now boast. If you can live with the dust issue and don’t need 40″ x 60″ prints, the 5D looks to have a very long life indeed, especially in these times of rapid change.

My equipment has remained largely stable, with a few Canon primes added for good luck. Two of these bear comment. The 20mm – my second sample – is underwhelming in the extreme. Poor frame coverage wide open and with modest resolving power at best it’s an embarassment to a great maker of optics. Canon should dismantle any wide lens from Leica to see how it’s done. On the other hand, the 85mm f/1.8 Canon prime is every bit the equal of its predecessor in this household, the 90mm Apo Summicron-M Asph. At one tenth the price (yes, one tenth!) it’s the match of the German lens in every respect, adding auto focusing and aperture automation. A superb bargain. Plus if you drop it, you can get another for the price of filling up the gas tank in your SUV. Unlike the 24-105mm ‘dust pump‘ L zoom, the primes do not emulate a vacuum cleaner with the camera’s mirror box as collector.

For those with more sense than money, I recommend the Novoflex Magic Ball ball and socket head. New thinking, funky looks and very capable at a price which is a fraction of the ridiculous amount asked for those so-called ‘pro’ heads. After one year of solid use there’s nothing I would change.

If Sigma manages to pull its corporate finger out and give us the DP1 with a good, wide non-zoom, then any remaining reason for buying a Leica M8 goes away. The latter’s dated design, lack of focus automation and general bulk (what was small in 1954 when the M3 was introduced is now gargantuan), noisy shutter and poor quality control all around a crippled sensor which makes nonsense of your hyper-expensive ultra-wide M lenses, it really makes you wonder what they were thinking of at some $5,000 for a body without so much as a lens. If ever there was any doubt about my moving away from the M system, the M8 removed any remaining vestiges.

Printing continues merrily along with the Hewlett Packard DJ90. It seems to have been discontinued (though HP still lists it for $995 on its USA web site) but if you want big prints cheap, snap up a remaindered one. Far cheaper than the ones which replaced it albeit without the built-in spectrometer for matching print to screen. And the DJ90 uses dye-based inks, not pigments. I like dyes. The cheapest 18″ wide printer I can find comes from Canon at some $1900, so the DJ90 is an all time bargain.

My back-end for all of this continues to be the Apple Mac, albeit with a surprise change which saw sale of the iMac G5 in favor of a bottom-of-the-line MacBook. The Intel Core2Duo CPU is better and faster in every way, and a large, cheap 21.6″ Samsung widescreen makes things just so when processing pictures. Performance with Aperture is twice as fast – a very noticeable improvement. BUT, I have to report growing dissatisfaction with Apple. The Airport card in the MacBook failed in the first four weeks, only to be followed by intermittent (and very hard to diagnose) failure of the Apple 802.11n Extreme router. Both replaced at no charge, sure, but that’s a 100% failure rate on new Apple hadware acquired this year. Zero for three, Mr. iCon Jobs. Now the hold clicker on my iPhone earbuds has failed. Further, my initial caution about upgrading to Leopard was more than borne out with many reports of instability and incompatibility for an operating system which seems to be heavy on non-functional cosmetic glitz, comes with a criminally faulty back-up application (what could possibly be more important to get dead right?) and is simply not ready for prime time. I am sticking with OS Tiger until a few versions of the new cat have come and gone. Meanwhile, meet Leopard, the new Windows. (OK, nothing can be that bad, but I am miffed).

Back-ups continue to reside on external Lacie Firewire drives, controlled by SuperDuper! The latter’s value is greater than ever given Leopard’s shortcomings. Who would have thought it?

What of photographers? Among the great masters of the genre, I have greatly enjoyed getting to see again the work of Norman Parkinson and Guy Bourdin, fashion photographers and romantics both. Likewise, revisiting the austere classicism of those brothers under the skin, Hoyningen-Huene and Horst has been unalloyed pleasure. But maybe the greatest teacher this year has been Lord Clark in his Civilisation series which I bought mid-year. I last saw it 30 years ago. Clark opens our eyes to the Renaissance in such a cajoling, loving way that we can but learn from the old masters he so lovingly portrays. As photographers there are few better starting points for a visual journey. Finally, it would be churlish not to point out the work of Saul Leiter – an original if ever there was one.

But easily the most satisfying thing I did as a photographer in 2008 was to finally have my own one man show. That felt really good! Next time, though, I am getting a college student to mount, matt and frame the work. Life is too short to waste on this sort of thing.

And finally, this one’s easy. Gadget of the Year? It has to be the iPhone. A near perfect device out of the box, despite its revolutionary complexity under that elegant skin, it also happens to be a (not very good) camera. This is the future of mobile computing.

Vendor off the year, yet again, is the wonderful B&H. They always ship on time, when it say ‘In Stock’ on their web site it is and I’m awfully glad I am no longer a New York City resident when it comes to sales taxes. I had to exchange the first copy of my 20mm Canon f/2.8 lens (genuinely awful) for a second (pretty awful) and they gave me no grief about the process, which was handled expeditiously. Thank you, B&H. Runner-up? Not a photographic vendor, but I have been overwhelmed with the quality of support from that most reviled of vendors, AT&T. When I had an issue with consolidating my land line and cell accounts onto one monthly bill, AT&T said they would check back in a month to see all is well (sure, and I have a bridge in Brooklyn for you) and …. amazingly …. they actually did! And they didn’t even try to sell me anything when they called back. I did what any rational consumer of staples would do with a massive multi-quarter recession/depression facing profligate America. I bought the stock. For those of you who have spent the last century in a cave, the stock’s symbol is T.

Biggest disappointment of the year? Blurb’s lies about the quality of the paper used in their online books, which come printed on toilet paper rather than the 80lb material promised. Our culture may have institutionalized lying (politicians, doctors, lawyers, marketers, Wall Street, the military, etc., etc.) but that’s no reason to support liars with your money if you can help it.

Greatest irritation? Persistent spam ‘comments’ from morons predominately resident in Russia. None of these can get through, but will someone please bring back the Cold War?

December 18, 2007

Canon 5D – time to wait

Filed under: 5D — Thomas Pindelski @ 9:07 am

A few months’ patience will save hundreds


It’s not hard to guess what the Mark II version of Canon’s 5D will be like. If the upgrades to the current pro (1D Mark III and 1Ds Mark III) and amateur (Digital Rebel, D40) models are any guide, expect to see sensor dust removal technology, a slightly faster frame rate and a 3” diagonal LCD screen replacing the current 2.5” one. Who knows, the new screen may even be readable in daylight.

Will the sensor be upgraded? Well, the full frame pro model (1Ds Mk III) migrated from 16.7 to 21.1 megapixels, so maybe the 5D Mark II gets an upgrade from 12.8 to 16.7? It really does not matter. First I think it’s unlikely as there is too much risk of cannibalization of the $7,000 top model compared with the $3,000 or so to be charged for the new 5D. Secondly, the 5D’s sensor is already recognized by many to be superior to the old 16.7 megapixel one in the 1Ds Mark II, so marketing may dictate the change, image quality does not. Canon’s sensors in their DSLRs are already so far ahead of the competition that incremental changes reflect the law of diminishing returns.

The point of all of this is simple. Today a new 5D (Mark I) body can be bought from a reputable retailer for $2,200. The used market sees mint bodies selling for $1,700, give or take $100. A 24% discount, say. Now I’m a huge fan of buying used as that means someone else has paid the depreciation for you and you save money at very low risk. If the new 5D comes out at something like the $3,000 I paid for my new Mark I (no used ones were available at the time), I can see the used market dropping another 10%, making a mint used ‘obsolete’ Mark I some $1,500, or half the price of a new Mark II.

“But there’s no warranty on a used product” you cry. Well, first read this then find a good mint used model. The odds are very much on your side. Remember, all insurance (e.g. warranties) is nothing more than a play on human gullibility and fear, the latter seldom supported by objective analysis.

If I’m right about the enhancements in the Mark II, unless you need dust removal or a larger (probably every bit as useless) LCD screen and those are worth $1,500 to you, have at it. I would suggest the better course of action is to wait 3-4 months and pick up a used mint Mark I for less than half the price of a new Mark II. The $1,500 can buy you two or three great primes from Canon which, I can assure you, are optically in a different class from the zooms, to say nothing of their compactness. Alternatively, you can blow the change on a few tankfulls of gas for your car ….

Back in May I wrote that a $2,500 budget couldn’t get you into a full frame DSLR kit. Well, that is no longer correct, which is great news. Your $2,500 gets you a mint used 5D body ($1,500, say, in a few months’ time), the ultra-wide 17-40mm L zoom (they are giving it away at $650 new) and the drop-dead fabulous 85mm f/1.8 portrait lens ($320). That’s $2,470.

December 16, 2007

Canon’s big guns

Filed under: Lenses — Thomas Pindelski @ 9:05 am

Watch how they are made.

A reader posted an interesting comment (scroll down) with a link to Canon’s videos showing how lenses are made. (That same reader was very helpful in resolving a problem that prevented Internet Explorer users from commenting – thank you, Ben!).

Click on Lens Assembly Process (click through to get there – I cannot find a specific URL) and you will see how the monster 500mm f/4L IS lens is assembled – I still don’t feel good about the price tag, but this helps.

There’s lots of great historical information regarding Canon’s products – click Camera Hall for a history of cameras or here for great historical details on Canon.

December 13, 2007

A palliative

Filed under: 5D — Thomas Pindelski @ 7:59 pm

Most certainly not a solution.

OK, so I was feeling a tad spendy, as my wife would say, the other day.

And, yes, I have complained loudly and often of the awful LCD screen on Canon’s 5D. ‘Useless outdoors’ about summarizes it.

No problemo. I look up the splendid B&H catalog, you know, the one printed on rain forests or whatever, and I come across this Delkin gadget which claims to fix the crappy brightness of the Canon 5D’s LCD in anything resembling daylight.

Twenty-five bones and four days later, there was Marty, our UPS man, with the package. The Delkin Pop-Up shade ….

It’s actually very nicely made. A thin sheet of glass protects your LCD screen (off with that plastic film protector!) and the whole thing replaces Canon’s eyepiece with its (identical) eyepiece, plus the shade thing and a couple of pass-through buttons for printing and deletion. Here I am peeling off the plastic sheet protection for the glass plate.

Off with the Canon eyepiece and on with the gadget. It fits perfectly, meshing nicely with the base of the Manfrotto QR plate. The fit is very secure and the increased depth of the camera in no way interferes with the useability of the viewfinder.

Here it is after prying open with a figernail.

Does it work? Does it make the screen remotely legible in sunlight?

Well, here’s my subjective rating on a scale of 1 to 10, the latter being today’s state-of-the-art.

iPhone 10
5D + Delkin 5
5D naked 0 (meaning unuseable)

Ergonomics? The only complaints I have are that the On/Off lever is harder to get at (no big deal as you can leave the 5D ‘On’ for ever without significant battery drain) as you can see below, and that you have to angle the camera away from you a bit when trying to read the display in sunlight, otherwise all you will see will be your own nose.

Worth $25? Barely.

December 11, 2007

Q & A

Filed under: Photography — Thomas Pindelski @ 6:52 pm

A simple amusement.

I was reading Vanity Fair, a must-read for photographers everywhere, when I came across one of those questionnaire interviews with a famous person. At least he must be famous, because he is in Vanity Fair, right?

What on earth would I answer if asked these amazing questions? Ah! I know. You have to rig it. Betcha that’s how they do it. The subjects get to ask their own questions.

So that’s what decided me to do my own Q&A as a photographer (mostly):

Who Inspires You: Cartier-Bresson, Erwitt, Penn, Parkinson

Favorite discovery: Digital imaging

Best gadget ever: Those clip on eyes for the old Leica M mount 50mm DR Summicron

Best camera you ever used: Leica M2

Best lens ever used: A tie. 90mm Leica Apo-Summicron-M Asph/Canon 85mm f/1.8

Best picture ever taken: Darling, there are so many it’s impossible to say.

Most capable camera you ever used: Canon 5D which I use to this day. A jack of all trades and master of most.

Favorite photo venue: The streets of Mayfair, London, preferably on a sunny day

Favorite watch: Any Patek Philippe; an Audemars Piguet Royal Oak for sports wear

Favorite champagne: Bollinger NV

Jeans: Levi 501 button fly. The classic.

Favorite writing instrument: The Bic Cristal ball pen. Another classic.

Shirts: Brooks Brothers and L L Bean

Suits: Paul Stuart, Madison Avenue

Ties: My wife’s job

Favorite restaurant in the whole world: La Grenouille in Manhattan, but only if I have a gorgeous brunette to accompany me. On my own it would be any McDonald’s whose stock and food I adore.

Most exciting location you have ever dined in: Windows of the World, 107th floor, World Trade Center, north tower.

Favorite car: Ferrari. It has avoided me so far and somehow continues to do so.

Photographic ambition: A biography of the best of the best in photography, made as a movie documentary, with a highly opinionated voice-over by yours truly, of course.

Greatest fear: That soon 51% of US voters will be working for the government

Favorite leaders: Churchill for his courage, Reagan for his optimism, Thatcher for her determination, Golda Meir for her guts.

Favorite actresses: Rachel Ward, Claudia Cardinale, Eva Green.

Favorite actors: Who cares?

Favorite city: Beverly Hills. A focus of vapidity in a sea of pollution.

Least favorite thing to do: Commercial air flight.

What you do to relax: Read women’s fashion magazines – Vogue, VF, Bazaar, Elle. Walk my dog. Watch Formula One. Read philosophy.

Person who irritates you most: Anyone in, or running for, public office.

The greatest crime in a free society: The Income Tax.

The greatest influence on you as a photographer: Caravaggio

Painters who mean most to you: Caravaggio, Giorgione, Mantegna, Ucello, El Greco, Gericault, Corot, Manet, Degas, Seurat, Rothko

Favorite music: Chopin when I’m depressed. Mahler when I’m really depressed. The Rolling Stones when I’m recovering.

Favorite dog: Any Border Terrier, but especially mine.

Favorite musician: Horowitz

Favorite composer: Chopin

Favorite woman: The one I wake up next to.

Favorite cat: I hate cats. My wife has one. I intensely dislike him and he intensely dislikes me, so at least we know were we stand.

Favorite photo: The one I haven’t seen or taken yet.

Favorite photo you have seen: I suppose it has to be The Great Brailowsky. HCB at his luminous, spontaneous best.

Phew! That was fun!

December 9, 2007

History repeats itself

Filed under: Photographers — Thomas Pindelski @ 9:00 am

Nothing new under the sun

America 1932 or 2008? These folks lied on their mortgage application, the lenders colluded in the fraud, and now the four remaining taxpayers in the United States are expected to bail these felons out – the crooks in the car, that is. The people in the line are working folk.

Thank you, Margaret Bourke-White. The only difference today is that the undischarged bankrupts will be driving to the soup kitchen this time, not walking. You can sleep in a car but you cannot drive a house.

December 8, 2007

Matt Stuart

Filed under: Photographers — Thomas Pindelski @ 2:24 pm

Bare bones and worth it

The site may be pretty bare bones (quite beautifully designed) but you will not find a better collection of hilarious and surrealistic pictures than the ones on Matt Stuart’s site.

December 4, 2007

Canon 400mm f/5.6 ‘L’ lens – Part II

Filed under: Lenses — Thomas Pindelski @ 8:54 am

Simply the best 400mm lens I have used.

Refer back to Part I for the design and handling aspects of this lens.

Now for some pictures. These were snapped with the camera/lens mounted at the lens ring on a Bogen 2016 monopod, one of the greatest bargains for any photographer. The monopod is fitted with a Manfrotto QR head, another tremendous bargain. Absent use with the very fastest shutter speeds, a monopod, as a minimum, makes great sense as it eliminates vertical movement of the camera. The long tube of the lens, with its attendant high turning moment of inertia, reduces rotational movement. That leaves fore-and-aft movement, something that can be greatly reduced with a solidly planted, wide legged, stance and support of the long end of the lens’s barrel with the other hand. Remember the lens has no IS – a shame, but that would add $500 and 8 ozs to the price and weight. I can live without it.

These snaps were easy. I drove 21 miles west to California’s wonderful Highway One with the sun having a couple of hours of gambolling about left, before its date with the far east. Early and late light always conveys the best drama. Add a lens that is inherently dramatic, and the rest is easy.

ISO was set to 400 for shorter shutter speeds. All snaps were underexposed by 1.5 stops, as these late lighting conditions are simply an opportunity for highlights to burn out with the 5D’s sensor. Underexposure and a little use of the ‘Shadows’ slider in Aperture makes for a far better dynamic range. The aperture makes no difference to resolution with this lens – the aperture controls only light and depth of field. Definition remains unchanged. Meaning superb.

All pictures were processed in Aperture, meaning RAW conversion and default 5D sharpening settings. The lens does not need additional sharpening, unlike its two Leica predecessors. Focus was automatic, with a first pressure on the button locking the central rectangle focus point, pending recomposition. Forget matrix focus and all that marketing gobbledegook – there is so little depth of field at short distances that critical focus must be on the key part of the image – meaning the eyes, where animals are concerned.

First, driving north on One, a quick stop at Moonstone Beach to catch the pelican doing his thing. This one is actually one half of the image, cropped for drama. So it’s as if I used an 800mm lens here! You can’t tell – there is no grain with the 5D’s sensor at ISO 400.


Pelican at take-off. 1/1500th, f/8

10 miles further north, just past Hearst Castle, is Elephant Seal Beach and a stop to enjoy sunset with these big boys was just what the doctor ordered. Just stay upwind of these fellows if at all possible. The lens is completely flare free, even directly into the sun. And who said fish don’t make you fat?


Elephant seal pup. 1/180th, f/8


Elephant seal. 1/250th, f/8

Finally, with the sun three-quarters of the way down the horizon, driving back home, Hearst Castle glows in all its splendor. This one had the camera resting on the car for support.


Hearst Castle at sunset. 1/180th, f/11

The striking thing about this optic is that, for the first time in my experience with a 400mm focal length, absolutely no excuses need be made for micro-contrast. Meaning the resolution of fine detail with high contrast is equivalent to a fixed focal length prime (OK, excluding the lousy Canon 20mm!). That statement alone should have you rushing to your favorite vendor to buy yourself one for the holidays. Sure, you may only use it a few times a year, but when you do …. Wow! Canon’s megabuck f/4 and f/2.8 optics of like length may be better, but at that price I neither care nor propose to find out. This lens is a stunning bargain.

December 3, 2007

Canon 400mm f/5.6 ‘L’ lens – Part I

Filed under: Lenses — Thomas Pindelski @ 12:10 pm

First, the ergonomics

Ergonomics are vital to all effective machine design and nowhere is this more true in photography than with really long lenses. The user is already confronting slow apertures and a high risk of camera shake. A poorly handling lens does nothing to help.

So in this first of two parts (the second will deal with performance) I take a look at my latest Canon lens addition, the 400mm f/5.6 ‘L’ telephoto which I have been using for a while now. And let me start by saying that I have not used a lens of this length with better ergonomics.

First, a few notes on my long lens history. I started with a 280mm f/4.8 Telyt on a Visoflex II mirror housing mounted on my Leica M3. An ergonomic nightmare. The big glass front elements of the lens were so heavy that the brass focusing collar would bind if the front of the lens was not supported. The collar was also very small, the lens had neither auto focus (this is 1975!) or an automatic diaphragm, overall contrast was low dictating the use of contrastier grades of printing paper and, well, it’s a miracle I managed to make any good photos with it.


Hyde Park, 1975. Leica M3, Visoflex II, 280mm f/4.8 Leitz Telyt, Tri X

Later, when the Leicaflex SL came along, it was joined by an 180mm f/3.4 Apo-Telyt R. Great if not superb ergonomics, more than made up for by fabulous optics. This is the lens Leitz designed for NASA for use on space flights. It shows.


Lake Elizabeth, 1995. Leicaflex SL, 180mm f/3.4 Apo-Telyt R. Kodachrome 64

Later, I added a 400mm f/6.8 Telyt which was a fine, if failed, attempt at improving the ergonomics of long lenses. It was very long being a true long focus lens rather than of telephoto design, unscrewed into several pieces and came with a weird shoulder mount (redesigned many times, all awful) which would connect to the base of the lens with the stock for your shoulder, like with a rifle I suppose. So time consuming to set up and so impossible to carry around, I never used this add-on contraption. Focusing was original too, using a sliding trombone mount locked with a small button on the side of the lens. Remarkably effective as long as the slide had fresh grease. The maximum aperture was slow at f/6.8, resulting in a very light lens which was always used at full aperture – not least because the lens lacked even a pre-set diaphragm. Click stops only. It had but two elements and lost definition off axis quickly, but the center was dead sharp and the results satisfying.


Hearst Castle, 2006. Canon 5D, 400mm f/6.8 Telyt, monopod, ISO 400

But my latest long lens journey bears documenting, if for no other reason than that someone has finally got the ergonomics as right as they can be on something so ungainly. The Canon lens I am writing about has been around for ages and ages, but this is my first experience with a fuly automatic 400mm lens.

Who needs a 400mm lens? Well, the fellows at sports events for one. Intrepid wildlife snappers and paparazzi swear by them. I am none of these. However, for landscapes, there is nothing to beat them for drama and impact. And I photograph landscapes.

I sometimes think Canon must have two lens design teams. There are the geniuses who design the wonderful optics and mechanics of their big guns and their ‘L’ glass, and then there are the guys who couldn’t make it in the bean counting department and were relegated to the sub-basement, only to churn out truly awful cheap zooms and ultra wides.

Looking at the long focus lenses in Canon’s catalog, you gets lots of choice in the purportedly better ‘L’ glass – with a 100-400mm zoom, the 200mm f/2.8, two IS-equipped 300mm optics (f/2.8 and f/4), no fewer than three 400mm choices – f/2.8 IS, f/4 IS DO (non-’L') and the f/5.6 non-IS. At 500mm there’s an f/4 IS and a 600mm f/4 IS monster rounds out the range. Most of these run well into the thousands of dollars.

Unfortunately this lens adopts the garish cream coloring seemingly de rigeur for the polyster set to whom nothing matters so much as displaying their possessions. Don’t wildlife photographers just hate this? The lens has no IS but is small and light instead, in as much as any 400mm lens can be thought of in those terms. Add a monopod and a quick release tripod plate and you have a very effective combination which can avoid the worst of the shakes. It bears emphasizing just how long a 400mm lens is – any shake is magnified eight times compared to a standard 50mm optic. The grain free nature of the 5D’s full frame sensor goes a long way to beating the shakes by simply cranking up the ISO to 400 or 800. That makes for short shutter speeds.

Why is this the best 400mm I have used from an ergonomic standpoint? Simple. First the autofocus is deadly accurate (when used with the center focusing rectangle in the 5D), it is super fast and no focus collar (Did I get that right? Maybe a little more this way? No, maybe the other way?) twiddling is required. This is a good thing as the longer you have to hold any heavy lens at eye level, the more fatigued and unsteady does your hold become. Secondly the lens is auto aperture permitting full exposure automation. Finally, for its length it’s compact, coming in at 10.1″ long and only 2.8lbs in weight. (Compare with the 16″ or so inches of that f/6.8 Telyt). That weight is perfectly balanced on the 5D and the lens comes with a superbly designed tripod collar – more of this later – and a (not so superbly designed) built-in lens hood. The latter is a pain until you get the hang of it. It’s nicely flock lined and is pulled out and rotated counterclockwise (and counterintuitively) to lock. The front of the hood is cleverly surrounded with a rubber protective ring. Try to collapse it and you quickly learn there’s a right amount to rotate it clockwise before trying to slide it down the barrel. A click-stop or two would have been welcomed here, Canon. New price is some $1,100 but I bought mine mint, if used, for just under $900. Check the used listings – these come on the market periodically and most seem to have had light use. I would definitely avoid pros’ beaters. Mine came with the tripod collar and expertly designed pouch, both standard with the lens.


Perfect balance at the tripod mount on a Canon 5D

This flock-lined tripod collar is a true masterpiece. The knob operates a short-throw cam to lock the collar in place after clicking it onto the lens. The click-lock is bypassed on removal by turning the knob CCW then pulling gently. No force is needed to lock the ring and it remains very stable in use. I have fitted a Manfrotto QR plate to the foot for quick mounting on a tripod or monopod.


A design masterpiece – the locking tripod mount ring

As an added feature, if you want to use the tripod collar on the 200mm f/2.8 ‘L’ it fits perfectly, so long as you reverse it to clear the camera’s front escutcheon when mounting the lens. This provides a far better mounting point for the front-heavy 200mm lens compared with the one on the 5D’s baseplate. Stress, of course, is greatly reduced also.


Tripod mount ring mounted on 200mm f/2.8 ‘L’, reversed to clear body

Snugging up the collar is easy with the generously sized cammed knob provided. This is a magnificent piece of engineering design clearly thought through by a real photographer-designer.


Top view. The ring is snugged up when the line is aligned with the focus indicator

The focus range switch purportedly makes for faster autofocus when set to the narrow range. I cannot tell the difference and simply keep it on the broad range setting. In either case, the focus is blisteringly fast. This is not your grandfather’s Leica Telyt! Given that focus can be locked with a first pressure on the shutter button, I have yet to use manual focus, though it has to be said the focus collar is very smooth and devoid of any of the raspiness afflicting Canon’s garbage non-’L’ zooms – you know, the ones from the boys in the basement.


Focus range amd auto/manual switches, just like on the 200mm

Canon did not stop there. They did the case right. Instead of some dumb drawing room display tube of shiny leather (thank you, Leitz Wetzlar – ‘Echte leder’ as they used to proudly claim) they give us something in pure vinyl (the better to ward off rain and much harder wearing) with an ingenious velcro plus 2 linked zipper flap design which really works. The case needs a shoulder strap to make sense (buying an oversize camera bag to accommodate this monster does not) but, boy!, does it work!


Canon’s bag easily accommodates the quick release plate from Manfrotto


Ingenious double zipper opens velcroed flap for quick lens removal from the LZ1132 case

In Part II I will take a look at performance in the field with some snaps to illustrate. Suffice it to say that if my specimen is typical, you should be rushing out to get this lens if the need dictates.

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