Sneeze!
In San Francisco.
Snapped on the D700, 28/2 MF Nikkor. A section of the original as I was not close enough, which is probably just as well.
Sneeze!
Snapped on the D700, 28/2 MF Nikkor. A section of the original as I was not close enough, which is probably just as well.
Old can still be good.
It would be wrong to caption this column ‘Camera of the Year’ or something similarly pretentious. After all, I’m an amateur snapper, not a journalist reviewing free hardware who gives the award to the maker paying the biggest kickback/free gear gift/trip to Osaka or the Black Forest. This is my money and my preferences we are talking about, not other people’s money and advertising dollars.
That said, I do give careful consideration to where my money goes and that is rarely to the latest and greatest. Obsolete means nothing to me, except maybe a good entry price and low depreciation, and buying new tends to be anathema to my psyche. Plus I like the gestation and discovery period that something a few years old has undergone.
So if I tell you that my favorite camera body was last made 7 years ago – aeons in DSLR terms – and the lens is no less than 4 decades old, I would be quite understanding were you to write me off as some sort of nutty eccentric, like the guys still doing wet collodion in 8″x 10″ view cameras.
However I have long known that a change of gear acts like a kick in the pants for yours truly, if nothing else to justify the outlay by making some decent pictures. And if the use experience confers tactile and mechanical pleasure, both keenly developed senses in my case, then all the better.
My favorite gear of 2012 is the 2005 Nikon D2x with what I can only describe as a thrilling lens, the 50mm Nikkor-S f/1.4 pre-Ai MF lens. That’s like a 75mm portrait lens on the APS-C sensor in the D2x body and the handling, balance and ease of use of the combination are really special. The trade-off is more time in the gym to carry this far from svelte outfit around but, surprisingly, as a street snapper I have not experienced any of the ‘it’s intimidating to your subject’ syndrome that many ascribe to these big bodies. Quite the opposite. Maybe the loudly emblazoned ‘Nikon’, married of course to my massive build and no less threatening physical presence, does the trick, but I rather fancy I may be fooling myself here. Sylvester Stallone I am not.
Why pay $700 for an obsolete digital body? That money gets you a competent, current DSLR body, certainly less robust, but with a sensor sporting better high ISO performance. Maybe even a decent kit lens for that price will come with it. It will not get you much in FF DSLRs, with the original and superb Canon 5D being the best bargain in that price range. It also gets you an exceptionally well sealed body which, though it has no dust removal shaker, has no need of one. My FF D700 has such a mechanism yet I am regularly cleaning the sensor with brush and blower. There’s nothing wrong with the D700. It has far better performance above ISO800 and when fitted with the MB-D10 battery pack mimics the well designed vertical shutter release on the D2x. Plus it’s FF, so wide lenses remain wide. And neither body has a reputation for problems. Older D2x bodies can exhibit the ‘blank first frame’ symptom but that’s about all I have read of. Either body will last the average amateur longer than his stay on this mortal coil.
So why did I buy it? Because it is a far greater pleasure to use than the consumer grade alternative. It will not, however, take better pictures. Those are solely a function of the person pressing the button.
The lens is another story. Click the above picture and you will see how adding a $29 CPU confers proper EXIF data recording, automatic invocation of the appropriate lens correction profile, matrix metering and transfer of aperture control back to the lens, away from the control dials on the body. That works for me as I support the lens with my left hand in any case and, as an old fart, that’s how I have been changing aperture for several decades now, and I am strictly an ‘aperture priority’ guy when it comes to auto exposure. Manual Focus? No biggie, especially with the focus confirmation LED in the Nikon’s finder, the latter made so much the better by fitting Nikon’s magnifying eyepiece. The 50mm f/1.4 delivers performance indistinguishable from the 50mm f/2 of that era, offers one stop more speed and the bulk and weight balance with the heavy body far better. Focus and aperture clicks are simply a dream to use. Compared to modern multicoated optics you maybe trade off a little contrast in strongly backlit situations, but that’s what Lightroom is for.
The whole use experience is a tactile, aural and sensual thrill. That is never lost on me. This outfit makes for an integrated whole of quite exceptional utility and ease of use.
Highly recommended – the kit will run you under $800 if you shop around and there’s no way you are ever going to wear it out. And the only people who will point and say ‘Ugh, how dated’ are not ones you want to know in any case. They are called equipment freaks and photography is anathema to them.
Caught on the run.
I pressed the button, still too far away. Then the moment was gone. So this is a section of the original, yet the D700’s sensor has held up well. I used the splendid 28mm f/2 pre-Ai Nikkor. Ancient and, yes, they do not make them like that any more. It’s a perfect street lens.
Family album snaps.
These biographical columns run annually and you can see the lot by clicking here.
The Polish word for the verb ‘had’ is miaÅ‚, pronounced like a cat’s meow, and gives rise to that old joke that every Pole is like a cat. He ‘had’ but no longer ‘has’. It’s one familiar to my generation whose parents saw WWII take the lives of loved ones and material possessions, never to be recovered. The lucky ones amongst us had Christians for forbears, which improved the odds of birth, our parents enjoying a better chance of being saved from the German killing machine. At the same time, Polish Catholics need to be deeply ashamed of our forbears whose country was by a considerable margin the most anti-Semitic on earth. Why do you think most of the gas ovens were in Poland?
A while back I had taken the precaution of scanning all those fading photo albums – the subject of the very first column here in 2005 – to preserve them for the future, and came across a couple of interesting snaps of my Old Man and I. Now he would shudder at the appellation ‘Old Man’ but it has just the right tinge of disrespect from one who rues his parents’ abject stupidity. Here’s the Old Man, married to my mum the Countess (every Pole has royalty for parents, and you can call me Count), knee-deep in horses, acreage, homes and servants – that was the order of importance then – with an aggressive foe on his border. Not only does that putative enemy announce his intent to rape, pillage, steal and destroy, he writes it all down, broadcasts it loudly and continues to do so for six years before finally invading on September 1, 1939. And my parents do what exactly? Why, they keep all their coin and securities in a couple of banks in Warsaw and Krakow and all their capital assets – the acreage, the homes, the coal mines – in Poland. Not exactly the cutting edge in risk diversification.
Now when the snaps below were taken I was 3 and 9, respectively, so it’s not like my image of my parents was exactly fully formed and well thought out. Heck, I just wanted to read a book and, later, take pictures. But they are interesting.
The first, and I have no idea who took it, is at Lyons’ Corner House in Marble Arch, London, where the OM would take me for a treat now and then. London? Because in a rare burst of intelligence, even my folks had twigged that living under Russian occupation in Poland might not be a good thing, and five years of speaking German had not exactly been fun, so they had high tailed it in 1947, with the proverbial clothes on their backs. Fast forward to 1955 and the chocolate cake which I seem to be anticipating in the snap. It’s such a Proustian moment of remembrance that it gives me the intensest pleasure today to do a like favor for Winston, my son, though our choice of restaurant has a few more stars. Winston looks forward to the treat and I enjoy his emotions as much as the Old Man likely enjoyed mine. Mercifully, Winnie’s dad had the foresight his parents lacked in their choice of destination, exiting stage right from losing Britain to a vibrant United States 35 years ago. Maybe one of the waitresses snapped the picture? Her timing is impeccable because it says so much about childhood and the sense of wonder and amazement which pervades it.
The second is no less extraordinary for its juxtaposition of emotions. This was done in one of those photo booths, invariably placed in railway stations, where you inserted your half-crown (about $1 then), rushed in, were blinded four times by the flash after drawing the little privacy curtain, then waited for ages outside for your black and white passport sized pictures to emerge, damp. The Old Man was generally on a bit of an authority trip – too bad he hadn’t taken like authority over the family’s capital in the spring of 1939 – so I rather fancy he told me to smile and I, ever a dork, did my best. As you can see, the pictures are all about him, and I am appropriately out of focus. Still, he was clearly not a man to be messed with.
Anyway, he died in 1966 when I was 15, so I barely really knew him. Destroyed by the stress of fighting in the Resistance and greasy Polish cooking he succumbed at 60 to coronary thrombosis before Christian Barnard and his successors invented transplants and the coronary bypass.
Given that I was never allowed to think of him as my ‘dad’, but was always reminded that he was ‘Father’, I can’t say I miss him. What a way to bring up a child. Authoritarian, cold, distant, domineering, severe, strict. Where I was interested in art, architecture and science, his talk was solely of chivalry and war. How he expected this to make an impression on a kid with a severe squint, flat feet and scoliosis, beats me. I was closer physically to a young Richard III than to Richard the Lionheart, and that vicious squint from youth leaves me without three dimensional vision to this day, meaning you really do not want me pouring the red wine at dinner where a white tablecloth is involved. I have missed more times than I care to relate. So if I tell you that when my son Winston calls me ‘dad’ it evokes the biggest possible frisson of pleasure, you will understand. Heavens forbid that I would have addressed the OM in that casual manner, and as a result the last thing on this earth I expect from my son is any of that hierarchical respect.
But the Old Man did leave a couple of fine mementos in the guise of these snaps. As for the lost fortune, I got over it and made my way, though I still rue the idle life of a dissolute, spendthrift wastrel that was rightfully mine. And, unlike for the Old Man and his wife the Countess, I made my own bed to lie in, rather than through the more traditional route of choosing my parents well.
The Old Man, left, 1932, with his manservant, preparing for a spot of hunting.
Nothing like a bit of slaughter to regale the lads over a few pops in the evening.
These pictures provoke so many mixed emotions, but parental love is most certainly not one of them.
Click here for an index of all the Biographical pieces.
No contest.
By a country mile, Adobe’s Lightroom is my choice as Software of the Year.
While Lightroom has been around for quite a while, it has continually moved to strength and has never become a resource hog. It runs very fast on a capable machine, be it Mac or PC, yet will perform at quite usable speed on something more modest like my 2012 MacBook Air. Photoshop deserves like praise for speed; I’m still on CS5.
For cross-platform users, the LR catalog will load just fine in Windows and in OS X, and Adobe’s realistic licensing permits use on two machines. While it was hard to imagine any great improvements to LR3, LR4 surprised mightily with it’s greatly enhanced Highlights, Shadows, Clarity and Vibrance technologies, all materially improved from version 3. Used creatively, the first two begin to approximate the power of HDR with none of the complexity or garish results. Add a touch of noise suppression from the built-in controls and you have pretty much all you could wish for in day-to-day processing. With an outstanding database with easy keywording and filtered image retrieval, you are looking at a very powerful tool indeed. Aftermarket apps to load images to Shutterfly or to offer specialized processing needs are easily added. I find I rarely leave the confines of Lightroom for my processing needs, with round trips to Photoshop generally being restricted to perspective correction (PS’s tools are more powerful than LR’s) and, of course, to selectively blur backgrounds with the excellent Magic Lasso tool and Filter->Blur->Lens Blur. It would be great if Adobe was to add these functions in LR, but I suspect cannibalization of their PS cash cow is a key concern.
The one other external processing tool I use occasionally is Snapseed, which now accepts TIFF files generated from RAW originals, meaning no loss of quality. I use LR4 with two displays and it is beautifully engineered for this purpose.
Having chipped my many old MF Nikkors, I especially like how LR reads the EXIF data and automatically invokes the appropriate lens correction profile from the many I have created. It just takes one more bit of drudgery out of the processing step.
Best of all, LR is remarkably inexpensive for what you get, which includes Book, Map, Slideshow (really outstanding) and Print modules, all well integrated, for $115 at Amazon. The best book I have found is by Martin Evening who not only writes and illustrates his instructions well, but also takes great photographs. A $33 bargain which really should come with the software.
Update 12/17/2012:
This just hit my inbox. At $129 there are few better bargains in photographic software: