Monthly Archives: February 2006

Worlds in a Small Room

Some of Irving Penn’s finest work.

Irving Penn is not just a great fashion photographer. Give him some spare time and off he goes on some personal project or other, frequently to the remotest places on earth, or the strangest. Like San Francisco.

This fine paperback shows pictures taken in his portable studio across the world, always by northern light. Published in 1974, it goes much further than August Sander’s cold, soulless work. Penn is vitally involved with, and sensitive to, his subjects, be they the mud people of New Guinea or Crete’s wizened old women.

If there are favorites then one has to be the group shot of Hell’s Angels with their women and machines, their leader looking like nothing so much as a Greek god. Then there are the Moroccan women so shrouded that only an eye protrudes.

I have been coming back to this book for some thirty years now and it never ceases to stimulate the senses and please the eye.

Steam, Steel and Stars

O. Winston Link’s masterpiece.


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Of all the books of railroad pictures you need know of only one. This one. Indeed, whenever photographs of breathtaking beauty are sought out, many in this book will be on the list of finalists regardless of subject.

Every picture in this book, all taken in the dying years of steam on the Norfolk and Western Railway of Virginia, is taken at night using flashbulbs, sometimes dozens at a time, using Link’s specially made apparatus.

Link shows that, to do something well, you have to be totally involved in, and in love with, your subject matter.

The composition, the insights into the last years of Norman Rockwell’s America, and the sheer love lavished on the work makes this book one of the very best picture books ever published, right up there with Cartier-Bresson’s ‘Decisive Moment’, though the subject matter could hardly be more different.

You don’t care about steam trains? No matter. If you care about drop dead, fabulous photography, you should have this book on your shelf.

Wetzlar goes to Tokyo

Leica or Leicaflex lenses on the EOS 5D

About the time I was ordering the Canon EOS 5D it dawned on me that it would be nice to be able to use my Leica Telyt long focus lenses on the digital body. I have a 200mm f/4 which is quite decent and a 400mm f/6.8, the one with the trombone focus action, which is very good. Both were made for use on the horrid Leitz Visoflex mirror housing for the Leica M body, but I had been using them on my metered Leicaflex SL SLR (now sold) with a Leitz M to R adapter, code 14127. I finaly got around to selling the Visoflex, but it wouldn’t go without kicking and screaming, as the first eBay buyer was a certified retard who decided he didn’t want to pay. How do these losers get through life? Mercifully, eBay recognized this nut for what he is and deleted his slanderous, retaliatory feedback. A small nod in the direction of decency and honesty!

Sniffing around the internet, it became obvious that there was quite a number of adapter manufacturers who promised that Leicaflex lenses could be mounted on an EOS body. Prices ranged up to some $200. I bought one from Kiev Camera in the USA for $50, but promptly had to return it as it had a faulty lens locking pin. The folks at Kiev Camera sent me another one and that one works really well.

As you can see, the order of events is Telyt lens, M to R adapter and then R to EOS adapter. The 200mm Telyt shown here, being a truly ancient design, also has a Leica screw to Leica M adapter, # 14166. Despite all these adapters, the whole thing feels rock solid once assembled.

While the Telyt lenses are manual, indeed the 400mm does not even have preset stops, use is easy with the 5D on aperture priority. Indeed, that’s the only way you can use it as the camera has no idea what is fitted, as there are no electronics to feed it the information. So you set the shutter and the camera choses the shutter speed. Focusing is also manual, as once again the lack of electronics defeats the focus confirmation light ordinarily seen in the viewfinder. No matter. The standard screen in the 5D works just fine with these long, slow lenses. For this very occasional long lens user the setup suffices, even though Rube Goldberg might be proud of the design! Both lenses preserve full focus to infinity with this arrangement.

You can see some snaps taken with this combination here. For results with the magnificent 400mm Telyt, please click here.

But wait. The plot thickens. In going through all my gear trying to sell anything that was no longer used, I came across a near new El Nikkor 50mm enlarging lens which I had last used in those mercifully long past, dreary darkroom days. That would be 29 years ago. As any Leica user will tell you, sooner or later you end up in adapter hell, as Leitz made adapters for seemingly everything. They must love the art of machining in Wetzlar and, indeed, their adapters are things of mechanical beauty. The El Nikkor uses a Leica thread mount. A few seconds later and it’s converted to Leica M bayonet with an adapter from the dark recesses of the cupboard where all my remaining junk hides. A separate adapter, # 16596 if you must know, converts my old Leica Bellows II, another remnant of the Visoflex years, into Leica M mount. Attach the M to Leicaflex to EOS adapter on the back and you have a free macro lens:

This gives larger than life images and, of course, infinity focus is not possible. Still, have you tried to sell an enlarging lens recently?

A better use is with the superbly sharp 135mm Leica Apo Telyt lens which gives images 2/3rds life size and also affords a far greater lens to subject difference allowing for better illumination of the subject. Nice to give these old warhorses a new lease of life.

On speed

Not enough light? Just crank up the ISO!

I was snapping pictures at my son’s fourth birthday party the other day and rather than use an intrusive flash, I though “Why not just crank up the ISO on the Canon EOS 5D and see what happens?”

So I set the speed to ISO 1600 and let the IS lens do it’s thing, taking pictures at the f/4 maximum aperture with the camera setting the shutter as low as 1/8th second. The only duds were where the subject moved. The picture quality is simply breathtaking. On 35mm film I would be using a Leica with an f/1.4 lens with ISO 400 film and the grain would be obvious on an 8x enlargement. With these digital snaps, 13x enlargements are grain free, pores clearly visible.

When all was said and done I reset the ISO back to 650 and snapped this image of my exhausted wife, Elenia, with Bertie the Border Terrier. There is something amazing going on here.

In this picture of my wife, in the 13″ x 19″ print the details in the window are clearly visible in the reflections on her rather gorgeous American Teeth. At ISO 650. Hand held by window light.

Advertising hoarding seen on the 101 freeway in Silicon Valley, California, with a picture of the Canon EOS 350 digital camera: “Film? History.” Yes indeed.

Eliot Porter

The Color of Wildness – book review


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Porter’s work changed how we look at the outdoors, moving away from the mundane, overrated monochromes of that adept darkroom manipulator Ansel Adams, and seeing the details in all their beauty. And yes, the emphasis in all of Porter’s work is beauty, greatly aided in this case by the well reproduced, large format pictures.

The book includes a fascinating essay by John Rohrbach explaining how Porter moved from black and white to color, despite snide asides from Adams and his set of toadies. It has long been my contention that Adams rejected color owing to his lack of ability in the medium, hiding behind the mistaken belief that if it’s monochrome, it’s Art. And it doesn’t hurt to print on fancy paper using ridiculous assortments of chemicals to emphasize the fact.

The modern version of this idiom is the growing reference by photo sellers to ‘giclee’ prints, as if association with something French must be a good thing. What they mean is that they printed on an Epson ink jet. Making a virtue out of necessity. Sounds sexy and mysterious, it has to be said.

In Porter’s own words ‘I believe that when photographers reject the significance of color, they are denying one of our most precious attributes – color vision.’

Highly recommended.