Todd Hatakeyama

Clik Elite Tropfen Backpack

Apr 292013

tropfen_1

While a devoted gearhead like me usually needs a bag that can lug a bunch of lenses and accessories, even I sometimes want to go out for a laid-back walkabout with just the basics. The new Clik Elite Tropfen backpack offers an appealing alternative for such relaxed photo excursions.

The grey pack is compact (External Dimensions: 18.5 x 14 x 7.5 in. or 47 x 35.5 x 19 cm), with attractive accents of brown leather. Although the nylon feels thinner than some other bag materials, it still seems plenty strong enough to support the modest weight it can carry. Its padded iPad compartment is nice, although the techie in me wishes it were a few inches longer so I could slide my 11″ Macbook Air in there.

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The camera compartment on the back is just large enough to accommodate a camera with a medium-size lens attached, with no dividers or spare room for additional lenses. However, you could nestle a couple of extra lenses in some Clik Elite lens wraps and stash them in the Tropfen’s main compartment. Otherwise, the main compartment would be handy for holding any items you might want for a day out–a light jacket, a few snacks, a bottle of water, and so forth. The outer compartment has the standard key ring clip, business card holders slots, and a small pocket for an iPhone or a memory card. You could also slip in a few batteries and other accessories.

I liked the backpack’s tripod holding system, but would have preferred that it zipped up rather than simply tucked in. The handy rain cover, too, would have been nicer if secured with its own zipper instead of having it tucked into the bottom of the backpack.

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For a test run, I took the Tropfen out on a short weekend trip to Ventura. I carried my Sony NEX-5R with a 35mm f1.8 lens in the camera compartment. Since the iPad compartment was too small for my Macbook, I used it for my iPad Mini and put the 11″ Macbook Air into a cozy SleeWay sleeve and placed it in the main compartment, along with a small bag containing various wires, chargers, and batteries I might need for the weekend.

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The Tropfen worked well for brief outings to the dog park and the harbor. Lightweight and padded, the Tropfen’s straps fit nicely, and as long as you don’t overstuff the bag, it will remain comfortable for a day trip. It can actually be a relief to carry a backpack rather than a shoulder bag when you’re walking around all day.

Clik Elite Lens Wrap Small with SLR Magic 35mm Hyperprime

Since I only had one camera for this outing, the Clik Elite Tropfen proved more than adequate for my needs. However, for a longer trip, I’d want to pack my M9 and some extra lenses, so I’d probably choose something more along the lines of the Clik Elite Traveler. But the Tropfen offers a lightweight option for a weekend warrior who just wants an easygoing afternoon of shooting.

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Spend a weekend in wine country with celebrity models Nikki Leigh and Kassie Lyn Logsdon - June 7-9, 2013

Mar 292013

What could possibly make the breathtaking scenery of Central California’s Wine Country even more spectacular? How about adding some of the most gorgeous models working today?

We invite you to join us for an amazing photography weekend on the beautiful 80-acre ranch near Paso Robles, California. You’ll have the opportunity to photograph celebrity models Nikki Leigh and Kassie Lyn Logsdon against a backdrop of rolling green hills, fiery sunrises and sunsets, and perhaps even some grazing deer and other wildlife.

Our sponsor Phase One will have several cameras for our participants to capture some amazing images over this jam packed weekend of shooting, lectures, food, and models.

Check out all of the details here

MEXICAN STANDOFF: A Shoot-Out Between the Leica M9 and the Phase One 645DF+

Mar 072013

Most photographers like to indulge in a little good-natured bragging when comparing their cameras with those of their close friends and colleagues. Few of them, however, actually put their equipment to the test in a head-to-head comparison with rival gear. Thus, I was intrigued when my buddy Jay challenged me and my Leica to a friendly duel in order to show off the capabilities of his new medium-format Phase One camera. I accepted the challenge, and a recent weekend cruise down to Ensenada, Mexico, provided a great opportunity to see how the two cameras performed when photographing the same subjects under the same lighting conditions.

To provide a fair comparison, we converted all of the following photos to jpg from raw, sized to 4000×3000 pixels. No other adjustments were made. Most shots are wide open or as wide open as we could be with the lowest ISO possible. Hover over each image to magnify it and try to guess whether the given photo came from the Leica or the Phase One.

I knew my trusty Leica M9 with the Noctilux f/0.95 faced stiff competition from Jay’s Phase One 645DF+. The 645DF+ camera body is capable of shutter speeds ranging from 1/4000s to as long as 60 minutes, and its versatile, removable camera back design allows you to switch between a variety of digital backs depending on your needs. As if that weren’t formidable enough, Jay outfitted the camera with a P 40+ digital back, which offers picture resolution of either 10 or 40 megapixels and an effective CCD sensor area of 43.9mm x 32.9mm. The P 40+ features an ISO range of 50 to 3200 and is capable of capture rates as fast as 1.8 frames per second in its Sensor+ mode. To top it off, Jay complemented this powerhouse camera combo with a Schneider Kreuznach 80mm LS f2.8 lens, whose integrated leaf shutter gives it flash synchronization at lightning speeds of up to 1/1600s.

The Phase One enjoys a significant edge with its autofocus, as the M9’s manual focusing with the Noctilux wide open is a bit of a challenge. Take, for example, the photos of the Nikon V1 camera. At first glance, the two pictures appear to have similar resolution. But if you zoom in on each image, the difference in sharpness between the Leica and the Phase One becomes clear. (See the guide at the end of this blog entry to confirm which camera took which photo.) The M9, however, has the advantage of a much smaller size, although the weight of the M9 with the Noctilux is just a bit lighter than this Phase One kit.

The M9 and Noctilux at f/0.95 gives a similar depth of field as the Phase One’s 80mm at f/2.8. The Phase One with the 80mm lens gives a 51mm focal length, very close to the 50mm of the Noctilux on the full frame M9. There is a noticeable difference in contrast and color with the unprocessed files from both cameras. The amount of detail and clarity the Phase One produces does beat the Leica, but the Leica with the Noctilux gives a look like no other camera and lens combination.

Although it was fun to compare the two systems, they are really intended for entirely different types of photography. The Phase One will primarily be used by professionals on commercial shoots, whereas the Leica would rarely, if ever, be used for a commercial job. And few weekend warriors will want to lug around the pricey Phase One to take their vacation snapshots. But it’s nice to know a classic Leica can hold its own against the higher priced medium format Phase One.

See if you were able to guess which images were from the Leica and the Phase One.
Todd and Jay – Phase One (left), Leica (right)
2 people sunbathing – Phase One (left), Leica (right)
Nikon V1 camera – Leica (left), Phase One (right)
3 party boats – Leica (left), Phase One (right)
2 bikini girls – Phase One (left), Leica (right)

SLR Magic HyperPrime 35mm T0.95 Sony Mount Review

Feb 082013

SLR Magic HyperPrime 35mm T0.95

Once again I was able to get my hands on a pre-production lens from SLR Magic. This time it’s the SLR Magic HyperPrime 35mm T0.95 with choice of mounts for Sony NEX, Fuji X, Micro 4/3, and Canon EOS-M.

Sony NEX-5R with SLR Magic Hyperprime 35mm T0.95 Lens and The Street Strap

I chose the NEX mount to pair with my Sony NEX-5R and the Street Strap. The NEX-5R is a tiny camera and feels even smaller once you mount this monster of a lens. Ergonomically, the NEX-6 would be a better choice, but the performance should be the same. The NEX-5R also offers great convenience with its focus peeking. It takes a little practice at first, especially shooting at 0.95, but as you get closer to 1.4 and 2, it’s very easy to achieve impressive results.

SLR Magic Sony NEX Adapter

As an APS-H lens, the HyperPrime 35mm is not full frame. On my Sony, it gives me 52.5mm with the 1.5 crop of the NEX. The build is very solid, with smooth focus and aperture rings and a built-in sliding hood. I replaced the screw-on lens cap with a quick release 62mm generic lens cap for easy use and storage.

SLR Magic HyperPrime 35mm T0.95

Although the lens will not work with a Leica M, it features a Leica M mount that enables you to attach it to a variety of other cameras. You simply inform SLR Magic what your camera brand is and they will send you the appropriate adapter with your lens. There are also adapters available for purchase from other suppliers that will attach the Leica M mount to Fuji X, Micro 4/3, Sony NEX E mount, or EOS-M. Adapters from some companies other than SLR Magic may not fit the Hyperprime, however, so use caution when buying.

Leica 35mm 1.4, SLR Magic 35mm Hyperprime, Leica 50mm Noctilux 0.95, SLR Magic 50mm Hyperprime

At $1300, the SLR Magic Hyperprime 35mm T0.95 is a great value when compared to the 50mm Hyperprime Leica mount ($5000) and the Noctilux ($10,500). Previously, I had used the Leica 35mm Summilux with my Sony. While the Summilux is smaller and a bit lighter, the 35mm Hyperprime is a lot of fun and puts out great results. And because it’s much cheaper than the Summilux, I don’t worry nearly as much about the lens getting broken, lost, or stolen while I’m traveling. The combination of the Sony body with the Hyperprime 35mm retails for about $2000, which is much less expensive than any lens paired with my M9, so I have been using the Sony exclusively for the past couple of months.

Sony NEX 5R with SLR Magic 35mm Hyperprime - F/0.95, ISO 3200, 1/60 sec

I haven’t yet been able to test the lens with any other camera systems, but I will definitely do so in the near future. But from what I’ve seen so far, the SLR Magic Hyperprime 35mm T0.95 looks like a fine, affordable option for budget-minded photographers who want results comparable to those achieved with much pricier lenses.

Sony NEX 5R with SLR Magic 35mm Hyperprime - F/0.95, ISO 2500, 1/60 sec

Sony NEX 5R with SLR Magic 35mm Hyperprime - F2.0, ISO 2000, 1/60 sec

THE HUFF BOAT: Sailing the High Seas on the Maiden Voyage of the Steve Huff Photo Cruise!

Oct 032012

As an alumnus of his workshops, I know from experience that no one knows how to put together a fun photo party like Steve Huff. So imagine what kind of rollicking good times Steve can orchestrate when you give him a really big ship and several hundred miles of Eastern Seaboard to play with! When he and I originally discussed the possibilities of this first-ever Photo Cruise, we couldn’t wait to get a group together and set sail.

Unlike his past educational seminars, Steve conceived of the Photo Cruise as more of a social than a classroom experience, a chance for attendees to shoot together in exciting new locales and learn from one another in a relaxed environment without the rigors of formal instruction. Attendees were welcome to bring a spouse or guest at a special reduced rate, and the lavish Princess Cruise ship offered plenty of diversions for those non-photographers who wearied of listening to us gearheads talk shop.

My wife and I had attended the latest exhibit opening at the Hatakeyama Gallery for the monthly Downtown Art Walk the night before our departure, and we’d had about three hours’ sleep between us when we caught our flight to New York. By the time we landed on the East Coast, we had just enough energy to join Steve and his fiancé Debby for a genuine New York deli-style corned beef and pastrami sandwich at Junior’s, along with a slice of the restaurant’s celebrated cheesecake, before crashing in our hotel room to rest up for the sea journey to come.

We boarded our ship on Saturday afternoon in Brooklyn Harbor. The luxury liner’s real name was the Caribbean Princess, but I naturally had to rechristen it “The Huff Boat.” We spent the first full day of our trip at sea as we sailed from New York to Halifax, Nova Scotia, in Canada, the furthest point on our itinerary. This gave us plenty of time to hang out with Steve and get to know our fellow Photo Cruise passengers. Several of them had come halfway around the world to join our merry crew, including Swiss, French, Belgian, and German attendees. We also had ample opportunity to sample the splendid shipboard cuisine, feasting on steak and turkey with all the trimmings and an assortment of tempting sweets for dessert. As my own special welcoming gift, I gave each of the photographers a complimentary medium-sized Micro Lens Pouch.

After docking in Halifax on Sunday, we boarded a bus for the first of several land-based day-trips. It was also our first major photo-op: the picturesque Peggy’s Point Lighthouse, one of Nova Scotia’s signature landmarks. Perched on a spit of rugged granite rocks, the lighthouse tower is an eye-catching white obelisk about four stories high and capped with a bright red lookout that houses the beacon lamp. It looked especially striking against the cloudless blue sky and placid azure ocean on the day we arrived. This is one instance where a black-and-white photo would not have done the subject justice.

We next visited another of Halifax’s most famous sites, the somber yet lovely Fairview Lawn Cemetery. The graveyard is better-known as “the Titanic Cemetery,” for it serves as final resting place for 121 victims of the ocean liner’s tragic sinking, more than any other cemetery in the world. Three long rows of blocky headstones commemorate the unfortunates. Some of them have no name, only a marker number, for the remains were never identified. Ironically, one of the victims who has been positively identified is the “Unknown Child”; modern forensic science confirms that this nine-month-old boy was Sidney Leslie Goodwin, whose entire family perished on the ship. However, contrary to the romantic notions of some film fans, the gravestone inscribed “J. Dawson” does not belong to the dashing rogue “Jack Dawson,” the character played by Leonardo di Caprio in the blockbuster Titanic movie, but rather to Joseph Dawson, a luckless Irish coal scooper in the ship’s boiler room.

Our port-of-call for Tuesday was Saint John, New Brunswick, site of one of Canada’s most breathtaking (and scariest) natural wonders. A tour bus took us a few miles inland to the notorious Bay of Fundy, where high tide can raise the water level in the inlet by as much as 53 feet in a very short space of time. Needless to say, you don’t want to be wading along the shore when the tide rushes in. A narrowing channel and progressively shallower bottom causes the bay to funnel the incoming water with such force that it creates St. John’s celebrated “Reversing Falls.” These waterfalls appear to defy gravity, for the whitewater tumbles one way when the tide goes out and falls the other way as the tide moves in. Again, not a really good place to go swimming. Indeed, ships can safely go in or out of the channel only during the brief period of calm known as “slack tide,” when the opposing tidal forces are in equilibrium, which was the time we visited. Not terribly exciting!

The next day brought us back onto American soil in Bar Harbor, Maine–or “Bah Hahbuh,” as the locals call it. Bar Harbor is pretty much everything you expect of Maine: Cape Cod-style houses clad in white clapboard, antique shops crammed with knickknacks, pebble-strewn beaches where it’s too chilly to sunbathe, and lobster, lobster, lobster! (Or perhaps I should say “lobstuh.”) And what better to wash down your bottom-feeding crustacean than a mug of microbrewed ale from the Bar Harbor Brewing Company? Wicked good!

I must admit that I especially looked forward to our next port-of-call, the one-and-only city of Boston, Mass. Oh, yeah, there’s all that historical stuff–Tea Party, John Adams, Shot Heard ‘Round the World, blah, blah, blah. But, c’mon! What really makes Boston great is the music. All those awesome Beantown bands like Aerosmith, J. Geils, The Cars, and, well…Boston! Who cares about the foundation of democracy compared with the foundation of classic rock?

We fueled up for our day in Beantown with some of the legendary cannoli at Mike’s Pastry. I don’t think saw this many varieties of cannoli during my entire last trip to Italy. Of course, the shop also offers Boston cream pies and puffs for tourists who want a taste of the town’s signature treats.

Coincidentally, the next landmark we passed on our walking tour of the city was another eating establishment: the Union Oyster House, founded in 1826 and the longest continuously-operated restaurant in the U.S. Before that, in 1771, the building served as home to The Massachusetts Spy, the oldest newspaper in the country and a rallying publication for the American Revolution.

Not being fans of shellfish and with our bellies still full of cannoli cream, we didn’t dine at the Oyster House but rather moved on to another remnant of early Boston, the Copp’s Hill Burying Ground. The second oldest graveyard in the city, the plot contains the burial sites of such local luminaries as Cotton and Increase Mather, the notorious Puritan witch-hunters, and sexton Robert Newman, who hung the famous signal lanterns in the belfry of the Old North Church to alert Paul Revere and other patriots to the coming of British troops. (“One if by land, two if by sea…”) We then saw more famous dead people at the Granary Burying Ground, including the aforementioned midnight-rider Revere, Samuel Adams (brother of President John), and John Hancock, who wrote his moniker so prominently on the Declaration of Independence that his name is synonymous with “signature.”

Okay, okay, I admit it! Some of the history stuff is pretty cool. But after a long morning of tramping through centuries-old cemeteries, you kinda need something to brighten the mood. You know…sometimes you want to go where everybody knows your name. And so it was that we dropped in at the original “Cheers” saloon for a restorative bite of lunch. Granted, it was originally called the Bull & Finch and was only used for exterior shots of the bar in the TV series, and the interior looks nothing like Sam Malone’s place but, hey, it’s still good for some pub grub.

And where did the bluebloods of Boston vacation when they wearied of Beacon Hill? Why, in Newport, Rhode Island, of course, the predominant playground of the robber barons and the next stop on our cruise. In the Victorian era, everyone who was anyone among the East Coast mega-rich owned a “cottage” on this exclusive stretch of rocky coast in the country’s smallest state. Many of these mansions were modeled on the Palace at Versailles, their extravagance helping to give the “Gilded Age” its name. Although we didn’t have a chance to tour the interiors of these grand estates, we hiked along the jagged shore, which gave us spectacular views of both the imposing manses and the grand Atlantic. We also had a visit from the moguls of the Information Age, as a Google Maps car drove past to photograph the streets in 3D–a reminder that, as in the Industrial Revolution, the One Percent are still in control.

We passed our evenings on board ship by relaxing, catching up on computer work, socializing, playing ping-pong, and, naturally, eating. Lots and lots of eating. Since we were on the boat during Photokina, Steve had to spend some time, and a lot of money, on the ship board internet. We all were anxious to hear the new product announcements and got a firsthand update from Steve.

Group Shot courtesy of Ingo

Camera gear was the center of conversation as we compared and tried out each other’s cameras and lenses. There were a couple M9’s, Fuji X-Pro 1’s, OMD’s, and NEX-7’s with various lenses. But the big hit of the cruise was Ingo’s 8mm fisheye for his X-Pro 1, a lens so fun that I had to order a fisheye for myself as soon as I got home.

We ended our trip where we began, in the Big Apple, although this time around we were well-rested enough to explore and enjoy the city. We were joined by Ingo and Peter, who were also staying a few days in NYC after the cruise, and Dawen, who attended Steve’s LA workshop. With only three days to spend in the metropolis, we thought a hop-on, hop-off bus tour would be the best way to hit all the highlights in the time we had left.

We thought wrong.

Naively believing that I would save time and hassle by booking online, I’d made our reservations with Gray Line Bus Tours in the morning. However, when I printed what I thought were our tickets, they said that we would have to go to the main office in Times Square to obtain our actual tickets–a half-hour subway or cab ride away from our hotel in Soho– even though there was a stop close to our hotel. I called to cancel, but Grey Line said that since it was Sunday, they couldn’t process a refund and that I had to wait for them to call me back within 3 days.

Frustrated, my wife and I took the subway to Staten Island for a ferry ride instead. By the time we got back to shore, a couple of Gray Line buses had pulled up to the nearby stop. One of the drivers said that his bus had just gone off-duty, so he was about to drive back to the headquarters in Times Square and could give us a ride. Skeptical, we decided to take him up on his offer. We got to the Gray Line office and finally got our tickets. We shopped for a while and ended up at a bus stop by Central Park where two lines crossed. We wanted the uptown bus, but the first bus to arrive was the downtown bus. The driver told everyone that we had to walk blocks down the street for the uptown bus, but the map said it should be the same stop. We walked with a group, then finally found a bus stop. In the distance we saw two more busses back at our original bus stop, so one of our group ran back over there to see what was going on. That was the uptown bus, at the original stop, so he boarded and made the bus driver pull over and pick us up, and the driver kept saying that he’s not supposed to stop there.

Total incompetence! But it didn’t end there. At the next bus stop, the driver informed everyone that we would have to leave this bus and wait for another one because he is going off duty! As we started to descend from the bus, the people in line at the stop boarded. Contrary to what we’d been told, the bus was suddenly, miraculously back in service, but now it was full, so we would have to wait for the next bus. Fuming, we waited and caught that bus, rode it a few stops…and then it went out of service, too! We had to get off that bus and walk down the street to yet another bus–our fourth of the tour. And this is supposedly the “#1 tour company in New York,” as the Gray Line operator claimed on the phone? NOT!

I called to complain and was told I could only file a complaint by going all the way back to the Gray Line office in Times Square. I yelled and screamed and said there’s no way in hell I am going all the way back to that damn office to file a complaint and will be filing a chargeback with Amex. (Which I have.)

After that, we gave up on Gray Line and decided to see New York as best we could by subway and on foot. As always when visiting a major metropolis, I made an itinerary based not on historical landmarks or cultural happenings, but on what really matters: food. Manhattan for authentic corned beef sandwiches. Chinatown, for the distinctive sights and aromas of the open-air fish and produce markets. Little Italy for cannoli and the world’s best Sicilian-style pizza at Lombardi’s. (By the way, that guy in the long, flesh-colored, phallic-shaped costume is a cannolo. Really. What did you think he was, anyway?)

Oh, yeah, and I guess we saw the Statue of Liberty, Times Square, Jerry Seinfeld’s house, and the real-life “Soup Nazi’s” restaurant, yada, yada, yada, but, really, New York is all about the food.

Well, maybe not entirely. We had some great eats on the first-ever Photo Cruise, but what made the trip truly worthwhile was the companionship of Steve Huff and our fellow voyagers. It was refreshing to travel alongside and fraternize with other photographers from so many different countries. We have already made plans to visit Peter in Zurich later this year before we embark on our Rhine river cruise to celebrate my wife Autumn’s birthday. The Photo Cruise made for a fantastic vacation, and I definitely hope that the Huff Boat “soon will be making another run” so I can climb aboard.

SLR Magic HyperPrime 50mm f/0.95 Leica M Mount Review

Jul 192012

Leica 50mm Summilux f/1.4 ASPH vs. Leica 50mm Noctilux f/0.95 vs. Hyperprime 50mm f/0.95

When I originally researched Leica as an option for a smaller camera than my Canon 5dMKii, I was intrigued by the small size and superior quality of the Leica lenses. To go with my first M9, I purchased the 35mm Summicron ASPH. $3000 seemed like a lot to pay for a lens, but the Summicron was less expensive than the Summilux. After a while, though, I found myself wanting a faster lens and put in a pre-order for the 35mm and 50mm Summilux. I didn’t have to wait too long for delivery of a chrome 50mm Summilux from Dale Photo & Digital. The Summilux turned out to be an amazing lens, and I was particularly happy with the f/1.4 aperture.

Leica 50mm Summilux f/1.4 ASPH vs. Leica 50mm Noctilux f/0.95 vs. Hyperprime 50mm f/0.95 - with hoods extended

But there is an even faster lens, the legendary 50mm Noctilux f/0.95. A friend of mine was looking to sell his Noctilux, so I couldn’t pass up my chance to own the ultimate Leica lens. Even though I was happy with the Summilux, the Noctilux is just something out of this world. With the $11,000 price tag and size and weight more like the Canon DSLR lenses I left behind, it has a “je ne sais quoi” quality about it that no other lens can match.

Hyperprime Front and Rear View at f/0.95

Recently, SLR Magic announced that they are making a 50mm f/0.95 M mount lens. I must confess, I was surprised that this small company known for Micro 4/3 lenses would attempt to replicate a lens like the Noctilux. In January, I hosted a workshop with Steve Huff, and he arranged for Andrew Chan from SLR Magic to come and give us a world premiere of this ambitious product. We were all excited to see how close this lens could come to the Noctilux and for what price it would sell. The lens impressed us when we first experimented with it, as it measured up to the Noctilux in many aspects. Although it is larger and heavier, it only cost $4295 at the time of the workshop, compared to the $11,000 Noctilux. If this lens could perform anywhere near as well as its upscale predecessor, it would be an extraordinary value.

M9 at f/1.2

Everyone at Steve’s workshop was offered a special price to purchase and test the lens, which many of us gladly accepted. In April, the first testers received their lenses, while mine arrived in May. There were early reports of some focusing issues and of parts coming loose. My lens seemed to be in good working order, and I started using it right away.

Eric Kim and his Hasselblad - Sony NEX 7 with Fotodiox Adapter - unknown aperture

Over the past two months, I’ve taken the Hyperprime with me as part of my regular kit, although it did add some weight over the 50mm Summilux. However, I did get used to the extra size and weight mounted on the camera. It’s a beast, but it does start to feel okay. I also found that I was not as paranoid carrying around the Hyperprime as I was with the Noctilux. Having that extra $7,000 in value in my bag really makes me feel like I have to keep an eye on it at all times. Even though all my equiptment is insured, I always like to be aware of and careful with my gear.

M9 at f/1.4

As with the Noctilux, the Hyperprime isn’t an everyday lens. I like to save these big guns for portraits, candids, or those times when a really shallow depth of field would work. I don’t think I’ve shot either lens with anything slower than f/4. I think they get the most use when I’m at a dinner table with a group of fellow photographers, who pass it around and snap pics of each other at f/0.95. It’s quite a lot to spend on lens that is used so infrequently, but the results just have that quality that no other lenses can equal.

M9 at f/1.7

The Hyperprime has a smooth aperture ring, no clicks like the Leica lenses. For some this may be a negative, but really you’re shooting at 0.95 most of the time so this shouldn’t be an issue. The focus ring is smooth but pretty tight, at least on my lens. The pop up hood is nice, very similar to the Noctilux. The lens cap is screw-on, which is secure but takes time to use. I opted instead for a 62mm snap-on lens cap I found on Amazon. I also purchased an 8 stop ND filter so I can shoot faster in the daylight; otherwise, I’d have to shoot at f/8 to f/16, and I’d rather save the weight and use my Summilux.

Included screw-on lens cap vs. Zeikos ZE-LC62 62mm plastic snap-on lens cap

For a head-to-head comparison, I tested the Hyperprime alongside the Noctilux on several identical shots. The results were pretty good; in most cases, it was hard to tell the difference. I even had to redo some side-by-side tests because I forgot in which order I tested the lenses. Was it the Noctilux first, then the Hyperprime…or the other way around? The pictures were close enough in quality that I could not be sure one way or the other.

Noctilux f/0.95 vs. Hyperprime f/0.95 - Sony NEX 7 with Fotodiox Adapter

I shot both lenses on the M9 and the NEX7 with the Fotodiox adapter. With the extremely shallow depth of field, it takes some practice to get the focus right. With either lens, the keeper rate is pretty low. But when the focus is spot on, the results look amazing.

Noctilux f/0.95 vs. Hyperprime f/0.95 - Sony NEX 7 with Fotodiox Adapter

The side-by-side tests show the different bokeh quality each lens exhibits, but there doesn’t seem to be too much variation in most cases. At least a few of the differences I noticed were due to my focus being a little bit off or focused on a different point in each photo. It is really hard to focus at 0.95 even with the focus-peeking function on the NEX7.

Noctilux f/0.95 vs. Hyperprime f/0.95 - Sony NEX 7 with Fotodiox Adapter

Lately, a lot of the Hyperprime testers have complained that their lenses fell apart or became very loose. There are several forum threads about these issues, and I’ve talked to a couple friends who have had the same problems. So far, I’ve been lucky that my lens is performing well and not suffering any of these technical glitches. The lens body does move very slightly if you torque the lens while mounted on the M9, I’m not sure if that’s the issue others had or something different. But it doesn’t seem to be a big issue and if it gets worse I’ll send it in to be repaired. To reassure those buyers concerned about the product, SLR Magic covers the Hyperprime with a 3-year warranty that is transferable if a lens is sold by the original buyer. The only drawback to the warranty is that you must send the lens to Hong Kong at your expense for any repairs, although I was told by Andew that for the first repair they will cover the shipping.

Norman - Leica M9 f/1.2

For photographers who aren’t going to pay the price for a Noctilux, the Hyperprime initially seemed like an easy decision, offering similar results for a fraction of the cost. The pre-order price recently increased to $5000, and there is currently an 8-month waiting list to receive the lens. Given the recent build issues, the lens has become a riskier proposition unless SLR Magic can get these issues resolved quickly and regain customer confidence.

Rinzi - M9 at f/1 in the dark

Overall I’m happy with the Hyperprime. So far I haven’t seen many of the build issues others have experienced and my photos have been looking pretty nice. The heavier weight, larger size, and focusing differences all take some getting used to, but it does give that “Noctilux” feeling around the Summilux price. If the manufacturer can work the bugs out of the product, the Hyperprime has the potential to be an impressive and relatively affordable high-end lens for the discerning photographer. I would hold off placing a pre-order or canceling your pre-order on this lens right now and see how things improve over the next couple of months. It’s a long wait anyways so it’s worth seeing how SLR Magic can address the current issues.

Suki - M9 at f/1

Think Tank Retrospective 7 (Blue Slate) Bag Review

Jun 242012

I have been using the Think Tank Retrospective 7 in Blue Slate for several weeks now and have found it to be a great solution to a common problem faced by many photographers who like to carry their 70-200mm telephoto lens in a compact run-and-gun type bag. Event photographers, in particular, need to be able to have access to a telephoto lens in a lightweight, stylish bag that blends easily into any environment and allows them to traverse crowds quickly to capture those great shots. It’s always frustrating to miss a great moment simply because you did not carry the right gear.

The Retrospective 7 is the first shoulder bag I’ve come across that melds great styling with an enormous carrying capacity for the gear I use most. Despite a sleek, streamlined exterior (External Dimensions: 13.5” W x 9.5” H x 7” D (34.3 × 24.1 × 17.8 cm), the main center compartment holds my 5D Mark II with my 28-70mm f/2.8 L lens attached (Internal Dimensions: 12.5” W x 8.8” H x 5” D (31.8 × 22.4 × 12.7 cm). Being able to carry camera bodies pre-attached to the lens like this can prove a huge benefit, for it reduces the chance of damage from dust or moisture ingress when photographing in harsh weather conditions and environments. The Retrospective 7 adds further protection from the elements with a water-resistant fabric exterior and nylon rain covers.

The inner left compartment holds my 70-200mm f/2.8 L IS tele lens with hood, while my YN-565 Speedlight fits comfortably in the inner right compartment. Best of all, I at last have a bag with a space designed specifically to accommodate my electronic portfolio. The Retrospective 7 has a zippered compartment on the back that is well-padded and suited for either an 11″ MacBook Air or, in my case, an iPad. The front pocket is large enough to hold a pro camera body, but I choose instead to carry my Sekonic L358 lightmeter, two Pocket Wizards Plus III’s and my R4 camera strap by Black Rapid there. Each section of the bag is thoroughly cushioned and very quick to access, and I can be shooting within a few seconds of swinging the bag from my back and ripping open the tough Velcro cover. While my bag was Blue Slate, the Retrospective 7 is also available in equally tasteful yet understated Black and Pinestone colors.

Verdict
This is, without a doubt, the best bag I have used for carrying my 70-200mm telephoto lenses in the field, and I would recommend it to any photographers who regularly carry this type of equipment and need to access it quickly. For the serious professional, this is an inconspicuous bag that keeps its best features on the inside, where you need them most.

Jay Bartlett
www.Jaybartlettphoto.com

Twitter: @JBartlettphoto

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Introducing the Micro Lens Pouch

Jun 232012

The MICRO LENS POUCH is the first pouch customized for smaller camera lenses. Whether you have a Leica M or a Micro Four Thirds system, the Micro Lens Pouch offers you a snug fit and plenty of padding to keep your costly gear safe. Made of an exclusive, specially-fabricated synthetic material, the case has the look and feel of neoprene but provides more cushioning for greater protection. With three different sizes available, there is a Micro Lens Pouch to accommodate most smaller lens sizes, including the Leica M, Micro Four-Thirds, the Fuji X-Pro 1, the Sony NEX, the Pentax Q, and the Nikon 1.

Ever since I purchased my first Micro Four-Thirds camera years ago, I’ve had the need for a smaller lens pouch. I couldn’t find anything on the market to fit these smaller lenses, so I improvised and used a neoprene mouse sleeve. Then, when I switched to the Leica M9, I really wanted a pouch to fit the Leica lenses that was easier to transport in the field than the Leica leather cases that accompany most of the new lenses.

So when a friend of mine moved overseas to Taiwan and started his own business developing products for companies, I knew I had to create the Micro Lens Pouch. He was able to find a unique material that was very padded and spongy and much stronger than neoprene. With this new material in mind, I gathered the dimensions of all the lenses I could find, and we started making prototypes of different sizes and designs. Once we settled on the final three sizes, we began production.

Leica, Fuji, Sony and Olympus lenses and cameras. Photo by Rinzi Ruiz

The photography community seems to be really happy with the Micro Lens Pouches, and I’m very happy that I could provide a solution to my needs as well as hundreds of other photographers.

Please check out the website for more information, sizing charts, and purchase information.

Here are some reviews on the Micro Lens Pouch
Steve Huff
La Vida Leica
Leica Liker

Thanks for visiting my blog,

Todd

CALL OF THE WILD: Stalking the Perfect Nature Shot with Art Wolfe in the Breathtaking Rainforests of the Olympic Peninsula

Jun 072012

As much fun as I’ve had shooting the concrete jungle with savvy street photographers like Eric Kim and Steve Huff, my first and foremost passion has always been for natural, not man-made, landscapes. Therefore, when I had the opportunity to take a workshop-in-the-wild with the man widely regarded as one of the finest nature photographers since Ansel Adams, I packed up my gear and rain covers in my Naneu Pro U60 backpack and headed to Washington state for a lot of muddy hiking and an unforgettable experience.

Art Wolfe - NEX-7 with Leica 90mm Elmarit-M f/5.6 1/1250 sec ISO 400 handheld

For those of you who are unfamiliar with Art Wolfe…shame on you! In a career spanning more than thirty years, Art has roamed every continent on the planet, taking pictures of the wilderness that have appeared in National Geographic and other magazines and in a string of award-winning books. His captivating photos of wildlife, panoramas, and native cultures have garnered such honors as the Alfred Eisenstaedt Magazine Photography Award and the National Audubon Society’s first-ever Rachel Carson Award. He has been named Outstanding Nature Photographer of the Year by the North American Nature Photography Association and an Honorary Fellow of the Royal Photographic Society. And his public television series Art Wolfe’s Travels to the Edge rocks–I’ve seen every episode. This was my chance to share in the adventure.

Me and Art - NEX-7 with Leica 90mm Elmarit-M f/5.6 1/100 sec ISO 100 handheld

From the outset, Art advised us to carry as much gear as we could lug in order to be prepared for both macro and landscape shooting and the changing light and weather conditions we might encounter. “If you have it, bring it,” he said, “because you will probably use it.” With this in mind, I stuffed my Naneu Pro bag with the Leica M9, a Sony NEX-7 with a Leica adapter, a Leica 21mm Super Elmar, a 35mm Summilux, a 90mm Elmarit-M, a Hyperprime 50mm f.95, a Sigma 30mm 2.8, a Sony 55-210mm, a Vanguard 225CT carbon fiber tripod, a Feisol CB-30C head, ND filters and graduated ND filters, some polarizing filters, 128gb of SD cards, Micro Lens Pouches to pad my lenses, and a couple of Street Strap camera straps. Any more than that and I would’ve needed a Sherpa to carry it all into the woods for me.

Naneu Pro bag with the Leica M9, a Sony NEX-7 with a Leica adapter, a Leica 21mm Super Elmar, a 35mm Summilux, a 90mm Elmarit-M, a Hyperprime 50mm f.95, a Sigma 30mm 2.8, a Sony 55-210mm, a Vanguard 225CT carbon fiber tripod, a Feisol CB-30C head

On Thursday night, I flew into SeaTac airport, where I rendezvoused with my friend S.K., a fellow alumnus of the Steve Huff workshops. By the time we made the two-and-a-half-hour drive in our rental car from Seattle to Port Angeles and checked into our hotel, it was 2 a.m., so we missed the initial evening meet-and-greet with Art Wolfe. Although Art encouraged all the students to do a pre-workshop shoot at dawn on Friday morning, S.K. and I needed what little sleep we could catch before the big day ahead.

SK and me - NEX-7 with 55-210 at 94mm f/5.6 1/13 sec ISO 200 handheld

We woke in time to grab a hasty breakfast, then joined our new classmates for Art’s two-hour introductory presentation. Illustrating his lecture with stellar examples from his own work, he told us what to watch for out in the field and offered us some tips with regards to composition, camera settings, and tripod techniques, among other topics. There were thirty workshop participants in addition to Art’s helpful assistants, Jay Goodrich, Bill Edwards, and Libby Pfeiffer, all of whom are accomplished photographers in their own right. S.K. and I were the only non-DSLR shooters in the group, he with his M9P and Pentax, me with my M9 and Sony NEX-7. I realized that it was going to be difficult to capture any quick-moving wildlife with the manual focusing Leica and without a long zoom lens. Ironically, that challenge was part of what appealed to me about the workshop with Art Wolfe. Having followed his work for years, I knew that he is a Canon DSLR shooter and frequently shoots with 300 to 500mm lenses. I accepted that I wouldn’t be able to get anything close to his shots with my Leica gear, but I was eager to see what I could do with the Leica despite its evident disadvantages for this kind of photography.

M9 with 21mm Super Elmar f/11 1/8 sec ISO 800 handheld

Following the seminar, our entire group picked up some sandwiches at the local grocery store for lunch and set out for our first field shoot. Our goal was the Marymere Falls, located amidst the old-growth trees of the Sol Duc Valley in Olympic National Park. The weather wasn’t great– overcast skies with some light rain that turned the ground a bit muddy–but it could have been a lot worse. The most troublesome aspect was probably the wind around the waterfalls, which made them difficult to shoot with the mist blowing right into the camera lens at the closest and best vantage point.

M9 with 90mm Elmarit-M f/14 1.5 sec ISO 160 with tripod

I’d brought along my Vanguard 225CT carbon fiber tripod since Art recommended having one with me, but I rarely shoot with a tripod as my style of photography is more spontaneous and fast-moving. All of the DSLR shooters had their huge tripods and 70-200mm telephoto and wide angle lenses, some of which they set up in the streams to get a perfect shot of the waterfalls. S.K. and I, however, leisurely wandered around shooting the forest and anything we found interesting but without the use of a tripod. Once I reached one of the waterfalls, I set up the Vanguard and alternated between the M9 and NEX-7, experimenting with some long exposures. In addition, I would switch between handheld and tripod shots depending on the situation. It sprinkled intermittently, so I would shoot with the NEX-7 when it was wet and the M9 when the rain let up. The M9 is not weather-sealed, and I did not want to risk any water damage. Truth be told, the NEX-7 isn’t weather-sealed either, but at one-sixth the cost of the M9, it seemed less to risk in the rain. To my surprise, some of the shots came out so silky smooth that they are among the best shots of a waterfall I’ve ever taken.

NEX-7 with Leica 90mm Elmarit-M f/16 1.3 sec ISO 100 with tripod

After our excursion, we returned to Port Angeles and enjoyed some down-time with Art at the Downrigger’s Waterfront Restaurant which, as its name implies, had a nice view overlooking the coastal waters. We didn’t dare stay up too late, however, because Art was determined that we should make the most of the following day’s prime light. Although he mercifully scheduled Saturday’s field shoot for the afternoon, he encouraged the early birds among us to take pictures in the dawn hours as well.

After breakfast and a quick meeting Saturday morning, our Wolfe pack headed off to the Hoh Rain Forest. Speaking of wolves, the Hoh Valley is perhaps best-known as the location where the Twilight movies were shot. We stopped to pick up lunch in the nearby town of Forks, but I didn’t see any brooding, James Dean-wannabe vampires, shirtless-hunk werewolves, or pouty, overrated actresses.

Team Jacob, our rental car in the Twilight forest

The rain forest is also notorious as the wettest spot in Washington, and it lived up to its reputation. It rained off and on for much of the day we were there–unfortunately, more on than off. We made it to the Hall of Mosses without getting too wet and set up for some shots of the amazing trees, but Art heard the rain coming and told us to take cover under the forest canopy to keep us dry. It rained for a good 45 minutes, and we were all impatient to continue shooting. I had my umbrella with me so I was able to take a few shots in the rain, but after a while S.K. and I decided to head back to the Visitor Center to relax and dry off.

NEX-7 with 55-210 at 144mm f/5.6 1/40 sec ISO 400 handheld

When the rain stopped, we decided to take a different trail, where we ran into some of the other participants, socialized a bit, and continued snapping shots of the forest. We completed the mile-long loop and returned to our car, ready for dinner at a local pizza place, courtesy of Art.

NEX-7 with 55-210 at 55mm f/5.6 1/15 ISO 400 with tripod

NEX-7 with 55-210 at 55mm f/5.6 1/15 sec ISO 400 with tripod

Well-fed, dry, and recharged after our meal, we headed to the outer edge of Washington to Second Beach, so-called because it’s one of three beaches along this section of the Olympic Coast. This is an amazing beach with huge, majestic rock formations just offshore, but there’s a fairly steep 0.7-mile hike from the parking lot. This keeps the beach uncrowded, making it the ideal spot for a possible sunset shoot. We spent a few hours on the beach, as everyone attempted to capture the rocks against the setting sun, each of us trying to find the perfect camera placement and achieve the best results possible in the not-so-good conditions.

M9 with 21mm Super Elmar f/19 1/60 sec ISO 200 with tripod

But the waves were coming in and the clouds weren’t clearing. For awhile, it seemed we might not have a sunset photo op at all. At the last minute, a ray of light emerged, and we saw person after person scrambling up the beach in search of the ideal vantage point. A row of tripods sprang up along the shore, photographers clicking away, waves soaking their shoes as the tide rose higher and higher. Fearing for my Leica gear, I stayed furthest from the water and did the best I could to get a decent shot, but the photos I ended up with were only so-so. I’m not sure if anyone in the group managed an amazing shot, but I’m anxious to see the results once the gallery is up on Art’s blog.

M9 with 21mm Super Elmar f/19 1/4 sec ISO 160 with tripod

We then had to make the long, tiring hike back to the car in near darkness as night descended. During the two-hour drive back to the hotel, we stopped at McDonalds for a snack to fuel us up, because we needed to burn some midnight oil in order to sort through our photos and select the three best images for Art’s critique the next morning.

We woke up early again on Sunday, tired and sore from the past two days of hiking, driving, and shooting. With our three best shots prepared, we “Wolfed” our breakfast before meeting with the group for the critique. Art allowed us to submit previous work as well as pictures taken during the weekend workshop. I couldn’t find three new shots that I was really happy with, so I included one shot of a field of wildflowers I’d taken on a past trip to Paso Robles. The photos were loaded in alphabetical order by first name, so S.K. and I were near the end of the list. Art gave each of us an astute evaluation, and Jay Goodrich spruced up the photos with a few adjustments in Lightroom. Although many of the participants submitted good raw photos, Art had good, constructive criticism on how most shots might be improved. I really learned a lot about how to compose certain scenes and how to do the best editing in Lightroom.

M9 with 50mm Noctliux f/4 1/2000 ISO 160

Finally, S.K.’s turn for review came. Art rotated and cropped the first shot, which did make it better. Art really liked S.K.’s second shot and didn’t have any suggestions, but the third shot was his least favorite of the bunch. A few people later, I was up. Hoping to make a good first impression, I started off with the field of flowers. Art suggested I shoot lower and nearer to the first row of flowers, simulating the point of view of a bee. For my shot of the people in the tunnel, he suggested cropping closer and a bit off center to increase visual interest. His favorite shot, however, was my final photo, a view of the forest with its drooping moss and bright flowers. Despite my earlier misgivings, I guess some of my pictures from the workshop weekend were pretty good after all!

NEX-7 with 55-210 at 60mm f/5 1/100 ISO 800

NEX-7 with 55-210 at 60mm f/5 1/100 sec ISO 800 handheld

Art commented that he had no idea what to expect from S.K. and me since we seemed to be ambling casually around the forest with our little cameras, eschewing tripods for the most part. But he was pleasantly surprised and impressed with our work, which was the best compliment I could hope for from the weekend. I had accomplished my goal of keeping up with the DSLR crowd. What’s more, my backpack was half the weight of everyone else’s!

NEX-7 with 55-210 at 89mm f/5 1/250 sec ISO 800 handheld

After reviewing my workshop photos, I found that I was not satisfied with the results of the NEX-7 with the 55-210 lens. The photos lacked contrast, were overexposed, and just didn’t come close to the quality of the Leica lenses. I suppose you can’t expect much for $350. On the upside, if anything were to get soaked and damaged in the rain, I would rather have it be that low-price combo than anything else I had in my bag. I did switch to the NEX-7 with the Leica 90mm Elmarit-M, which gave much better pictures, as well as the Hyperprime 50mm f/0.95.

M9 with 50mm Hyperprime f/0.95 1/1000 sec ISO 400 handheld

I’m returning the Sony lens and am now seeking something better for a long telephoto option. Possibly the Sony 70-400mm with the Alpha adapter, or back to a Canon L lens with the Metabones adapter. I rarely shoot longer than 50mm so I have time to research the best option before I head out again with Art, perhaps on one of his incredible international photo tours sometime in the next year or two.

It was an amazing weekend of photography, learning, and fun. If you ever have the opportunity to enter the wild with Art Wolfe, I highly recommend doing it, regardless of the expense. I’ve taken many workshops in the past six or seven years, and I can honestly say I got more out of these three days than any other workshop. I can only imagine how exciting it would be on a 11+ day photo tour with Art in Patagonia, India or Myanmar.

Someday, I hope to do more than imagine…

Leica M Monochrom - Coming this August

May 302012

When I heard the rumor that Leica was releasing a black-and-white-only camera, I had mixed feelings. If it could achieve high ISO with little or no noise, that would be a huge improvement over the M9. But would it be worth it to give up color?

I said to myself, “If it’s $5000 or less, I’ll buy one.” I could justify spending less than the M9 for black-and-white only. But when I heard that it actually costs more than the M9, I was immediately turned off. Would I sell my M9 for this camera or a couple lenses? At this point, I’m not likely to purchase one. However, I’m very high on the waiting list at Dale Photo & Digital.

By all reports so far, it sounds like an amazing camera, especially with the new 50mm APO-Summicron. Here are some of the reviews I found online:

Red Dot Forum’s review

Steve Huff’s first thoughts