Category: Photography

Leica camera CLA in Seoul

By , April 9, 2011 2:43 pm

I have a couple of Leica Ms and of all of them, my favorite has to be the M2. However that M2 is also the only mechanical camera in my possession that is in need of overhauling. Clean, lubricate & adjust as they say it, or simply CLA. Doesn’t take long to do a search on the Internet before I stumble across a supposedly nondescript shop in Chungmuro (충무로) that came recommended. GPS coordinate is approximately at 37.562063, 126.990041

Look for this block of shops

To get there, take line 3 orange line to 충무로 station and get out at exit 5. Continue straight towards Myeongdong and one you pass a big tower called Kukdong Building, turn right and immediately turn left on the next small junction. About ten meters later on your right will be a small camera shop called Yeongsang 영상 Camera. Go up to the second floor and there is a black and white photo developing shop. In a small corner of the shop, the old man there will CLA your mechanical camera.

This is what the first floor looks like. Follow the sign to the black & white shop upstairs.

Mine took only 2 hours. About the time it takes to develop a roll of film and cost a reasonable 100,000₩. The finder all clear now an all mechanical parts humming along, it’s cheap and at the same time fast. I was initially expecting a week before pickup. Who knew I could browse the camera shops around the area and pick it up on the same day.

Taking apart the M2

Highly recommended shop. Thanks to rangefinderforum.com for the initial directions. Shop opens 10am to 7pm. However the owner is sometimes downstairs in a used camera shop.

Fujikawaguchiko, Yamanashi Prefecture, Japan

By , November 7, 2010 7:37 pm

What a hectic weekend. Saturday morning flight to Haneda airport followed by a drive to Fujikawaguchiko and the rush back the next day to catch the last flight from Haneda. This trip was supposed to take place the week before (31st October) but was delayed because of Typhoon Chaba, which would have caused non stop weekend of rain. And there would be no way Mount Fuji would be visible from the town located 10km away to the north.

If you have followed this site quite a bit, you would have noticed that this is one of my favourite sites to shoot Mount Fuji. I could wake up early in the morning and walk 30 mins to the other side of Kawaguchiko across the bridge and set up my tripod before 6am. And in the last 3 times I have been here, Mount Fuji would always be visible in the morning along with a calm lake to catch some reflection. Kawaguchiko is large enough not to be perfectly calm, and the wind does kick in about 7-7:30am. So get there early. I will not detail too much how to get there, the easiest would be via the Keio Express bus line from Shinjuku just opposite Yodobashi Camera. And as a primer, Fuji 5 Lakes regions composes of… of course, 5 lakes. From the right to the left, there’s Yamakako, which I have never been, and since I have not heard too much about the view there, I have no plans to visit since it is also out of the way. Kawaguchiko is arguably the easiest one to access, as it is just situated by Fujikawaguchiko and the northern shore is littered with attractions like a monkey show and a music box museum. The views here are one of the best accessible without long hikes and a car, and Mount Fuji looks symmetrical from here. The only possible issue is that the town would be visible in your picture of the famous mountain. Only an issue if you’re after the mountain sans civilization. Just next to it would be Saiko, where Mount Fuji is not visible at all, obscured by a close by hill. News has it that Saiko is a good fishing place. Next to it, a little drive a way is Shojiko, which I think rivals Kawaguchiko. Cars could drive to the lake bank facing Mount Fuji, and you could get down to water level. What you would see on the opposite bank on the foot of the mountain is just pure nature. However, Shojiko is not that easy to reach without your own car. The public buses don’t run regularly, so you may have 1 hour there and if you do not get on the returning bus, the wait may be quite long. No buses at night the last time I checked, so night time shooting by bus would be impossible. One could camp by the lake side though. The last one is Motosuko, a relatively large lake, with an elevated vantage point at the far side of the lake. It is even more remote than Shojiko. This is also the view of Mount Fuji that could be found at the back of a 100 yen note.

Lets see what we have here…

DSC6841-2010-11-7-20-37.jpg

Shoji-ko: This is one of the first shot of this Autumn season for me. The EXIF reads 5:30pm and it was already dark. Exposure reads 30 secs at f5.6 on a 28-70mm. It was already dark when I got there, and the long exposure lights up the mountain a bit. I kept the foreground dark to convey the evening mood. You could see car lights on the right at the bottom of the mountain, and some faint lights at what could be the mountain 5th station. AT this time of the year, the snow cap is starting to grow, but obviously it is still early.

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Shoji-ko: This is one of my favourite picture of the shoot. Exposure reads 4 minutes 30 seconds and f8. I did another one that was 20mins long but came up to almost a blank shot. I had a ND8 on the lens and I would have to stretched it to 1hour exposure if I was to get something like this. What I wanted to do with this shot was to have a long enough exposure to catch the star trail. You could also faintly notice a line of a passing aircraft. I would have wished to have more time here, I guess I will explore the possibility to camp here the next time. Would have been great to catch an hour long star trail.

DSC6856-2010-11-7-20-37.jpg

Kawaguchiko: This was taken at very close to 6am. Note the vapour on the lake surface. This morning was not what I hoped for, with cloudy skies in the morning. When I got to the lakeside at 5:30am the mountain was covered in clouds, but almost always it clears at close to 6am when the faint trace of sunshine appears. You also notice that Fujikawaguchiko town is quite prominent in the foreground. This is a 4 sec exposure at f8, at about 40mm, and I cropped the top and bottom of the original frame. You also noticed that the view from Kawaguchiko is a little different, with the long gentle sloping sides of the mountain visible from here, while at Shojiko, the slope is quite strong.

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Kawaguchiko: Looking at the east at the rising sun. The only good thing about a cloudy day is that the morning red sun glow is quite strong.

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Kawaguchiko: With the sun starting to appear in the morning, Mount Fuji starts to glow a little shade of red. This scene only lasts not more than 10 mins. In fact I think it might have been shorter than that. So this is where an ergonomic camera comes in, when you switch from one scene and light type to another. The controls has to be easily found and you do not have the luxury of diving into the menus to change something.

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One for the road…

By , July 31, 2010 8:43 pm

Sun setting over Lantau Island

Now that was a quick 7 months and a bit in Hong Kong. Whenever I go over Stone Cutter island bridge, I can never help staring at the hill with colonial houses on it overlooking Hong Kong Island. For me at least, that would be the best location with a view of  Hong Kong Island. I’ve always wanted to go there in the evening and set up my tripod to take a panorama at location (22.31530, 114.14248). On my last weekend there, I found that that place is a Naval base, hence off limits to casual passerbys. Its amazing what a little check on Googlemaps and streetview can tell you. So its time to search for an alternative. I’ve shot quite a number of pictures of Hong Kong, and I have not had a good panorama of the place yet, so this is an obvious last project before leaving.

The new ICC tower in Kowloon, next to the waterfront

Finally settled on West Kowloon Waterfront as the second best alternative just above Western Harbour tunnel. Again, best time for me to shoot was between 6:30pm to about 8:00pm. At this time of the year, the sun will start to set at 7pm and there will be two light show. One when the orange glow of the setting sun showers the subject with soft warm light and the second (which I think I like better) when the sun has set below the horizon and the skies in the background are in a dark shade of blue and foreground lighted by orange neon lights. I’m pretty happy with the resulting panorama made up of up to 15 frames of 12 megapix pictures stitched in Photoshop. Heres a sample:

Hong Kong Island at sunset: glowing in the evening sunlight

Hong Kong Island at early night: Moon on the left, remains of daylight on the right.

Good way to end my short stay in Hong Kong. Now signing off, soon I will report back in a new location.

Hong Kong MTR

By , February 21, 2010 8:00 pm

Inside Hong Kong MTR Train

Started off my new project weekend, to photograph the station names of every single MTR station in Hong Kong. I don’t know how long it will take to do them all, but 3 or 4 weekends may be just enough. The idea is simple, take a camera, one lens and stop at every single station and then move on to the next.

There has not been any over eager security guard asking me to stop photographing so far, and to keep things interesting, I’ve got 2 months of backlogged podcasts to keep me company while continuing the task. The only thing I learnt is that there is a limit to the time you can spend in the metro, once you pass the gates. Its about 2.5 hours. And I spent a little more than that, and the Customer Service office let me out without a penalty. Otherwise it would cost a little more than 20HKD. I believe it was 21HKD that they mentioned.

Chai Wan MTR Station

Chai Wan MTR Station

There’s no deadline to this project. It will be completed when its completed, and I will figure out then what to do with all the database of photos! Today I managed to shoot 512 NEF files!

Nikon D3s Test 1: ISO, ISO & ISO!

By , January 3, 2010 7:34 pm

I have not done a post on photo equipment for some time, and I think I should at least do a new series for a test I am doing for the new Nikon D3s. Before this I have been using mostly film and a portable D300 for most of my landscape trek. While I love the rendering of the D300 and the D2 series camera, there are always something lacking in them. On the D300, it was the ergonomics for me as I hate to go into the menu to adjust something on the field, especially with light diminishing quickly during dawn or dusk. With the D2 series cameras, anything other than base ISO just wouldn’t cut it. It might be fine with the D2x, but with the D2h, even at base ISO, shadows can get blocky if you are not careful.

So, in anticipation of a long trip to South America at the end of 2010, I decided to pick up a D3 to familiarize myself with its high ISO performance. My thoughts at that time was that a D3 for main body and D300 for that extra DX reach would be ideal for a long expedition. And just before I was going to ask my usual dealer for one, the D3s was released, and just as well.

Long story short, I now have a D3s. And in summary: while I’m not new to photography, nor digital photography, this camera does induce a bit of an extra learning curve.

First test as I shoot my first 1000 pictures: ISO performance. I don’t intend for this to be a review, hence I don’t plan to include sample pictures. The early feedback from the internet forums is that this camera performs about 1-1.3EV better in ISO compared to the previous high-ISO champion, the D3. As I do mostly landscape with this camera, I intend to test it only for that purpose.

I did 3 tests today, first was a landscape shot with camera focused at infinity in bright daylight, a second scene with an close-up object (confession: a pretty wartime Leica IIIc) with proper illumination, and third was a city scene from the top of a tower.

Results:

What I can say is that this camera’s ISO performance is amazing.

Continue reading 'Nikon D3s Test 1: ISO, ISO & ISO!'»

Shanghai GP3 120 Film: Fogged, but interesting!

By , August 16, 2009 11:49 pm

While out in Changxing Island outside of Shanghai, I shot 4 rolls of 120 film in one whole day with my Mamiya RZ67II and being my first time out with the ultra cheap Shanghai film (less than a buck each US) I didn’t know that the end tape doesn’t include any licking tackiness to it. There’s a piece of paper that says that the film is exposed, but what’s the point as it doesn’t stick to anything, wet or dry. So I jury rigged something out of the next roll and stuffed it into the phone pocket in my pants, and when I got to the ferry point, realised that the first roll unrolled itself. Definitely fogged to Hades, and I was hoping the black paper would save the day.

No it didn’t. Light did REALLY get to the film. Processing was via 1+100 Rodinal on stand development in 27C water for 1 Hour. To my surprise (seriously, there was no big surprise!), the base was all dark, no frame marking at all, and there were just a small trace of image on it. First frame was 90% destroyed, and other than uneven fogging, some Photoshopping might recover some details.

And it did. Actually, the result is less Holga, and more wet plate collodion with a little age induced fogging. Possibly making some nice artistically inclined shots. Here they are…

First picture of the frame. No, its not god rays, but a ship under repair on a floating dry dock. Being the first frame in the roll, this one took the full brunt of the fogging.

First picture of the frame. No, its not god rays, but a ship under repair on a floating dry dock. Being the first frame in the roll, this one took the full brunt of the fogging.

All these rural places in China are full of these crude minotaur of a vehicle. The fogging is apparent, but there's also a little texture in it. This frame is in the first half of the roll, so I'm guessing this is the texture of the black backing paper, that somehow managed to transfer itself to the film during the fogging.

All these rural places in China are full of these crude minotaur of a vehicle. The fogging is apparent, but there's also a little texture in it. This frame is in the first half of the roll, so I'm guessing this is the texture of the black backing paper, that somehow managed to transfer itself to the film during the fogging.

This one I like. Looks like the result from a lost world war 2 negative of some Japanese port. No, its Changxing Island circa 2009. And the texture is also here. This one is actually frame no.2.

This one I like. Looks like the result from a lost world war 2 negative of some Japanese port. No, its Changxing Island circa 2009. And the texture is also here. This one is actually frame no.2.

Stacks of bricks. The actual shot of this is less interesting as the background is visible. The yard is not THAT big, but due to the fogging, it suggests an infinite storage area. On the contrary, but a nice surprise. This one is towards the middle of the roll.

Stacks of bricks. The actual shot of this is less interesting as the background is visible. The yard is not THAT big, but due to the fogging, it suggests an infinite storage area. On the contrary, but a nice surprise. This one is towards the middle of the roll.

This is a small river that cuts through the middle of Changxing Island. The fogging sets back the scene 100 years to the past. Nice!

This is a small river that cuts through the middle of Changxing Island. The fogging sets back the scene 100 years to the past. Nice!

Tractors here are all caked in some white alabaster thingy. No I didn't stick my fingers into it to confirm, but up till now I still don't know what it is for sure. This is one of the last frames in the roll.

Tractors here are all caked in some white alabaster thingy. No I didn't stick my fingers into it to confirm, but up till now I still don't know what it is for sure. This is one of the last frames in the roll.

Surprise, surprise! Now I’ve added another processing trick into my darkroom arsenal!

Lens Test: Tale of two pancakes

By , June 20, 2009 7:30 pm

Pancake lenses. Not many people use it nowadays, preferring the do-all zoom lenses. Going back to the old days when photographers would carry one prime lens per camera, and still be able to take amazing photographers, there is nothing a prime cannot do in the hands of someone with the right photographic vision. In short, nothing wrong with a pancake lens. In fact I love pancakes because it keeps the camera side profile smaller, making it possible to squeeze a pro-body with built in grip into a small bag. And most of the time you can zoom with your feet anyway.

Profile Comparison. ULTRON on the right, AIS on the left.

Profile Comparison. ULTRON on the right, AIS on the left.

A pancake lens is the name given to low profile lenses, normally around the 50mm focal length range. Up for this test are the two that I own. First up is a Nikkor 50mm f1.8 AIS. Now there are many versions of this lens, and the 0.60m minimum focal length version is the one I have, which is noticeably shorter than the other models. The other lens I have been using quite a bit is a Voigtlander 40mm f2 SL ULTRON. Yes a mouthful, I’ll just call it AIS and ULTRON for the short version hereforth. They’re both manual lenses. And they only meter on Nikon’s semi pro bodies like the D300/D700 and up.

This is not meant to be a full on test, so I will not bother to perform an exhaustive test on it. On the question of bokeh, I have noticed that the ULTRON has this harsh donut shaped bokeh, perhaps because of the Aspherical element in the lens. But I’m not a bokeh freak so it is not an issue for me.

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Cheap Films: ERA 100 Panchromatic Film Adventures

By , January 4, 2009 2:22 pm

 

ERA100 Flatenned Film Packaging

ERA100 Flatenned Film Packaging

I have been quite adventurous with film. For serious shooting, I’m sticking to Tri-X and just recently 125PX but every once in a while, as I now live in Shanghai, I would try out a Chinese film or two to see how they perform. The first thing that would catch my eye would be the cost of one roll of these local film. ERA 100 costs 10 RMB, or right about $1.5 USD. I have heard a lot about this film from local shooters. The other popular Chinese film is Lucky SHD100, but the only problem I find with it is that it is good for flat scenes, but once you have plenty of contrasts, you’ll find that the chemical tends to leak or diffuse across the border, giving the “glow” look of older RF lenses. 

This was the first roll of film I shot this new year, and over the long weekend I took a long walk around Shanghai Puxi area with my Leica M3 and 50mm f2 Summicron loaded with ERA100 for some street shootout. First thing I noticed was that the film base seems a little thicker than Lucky films, which is a good thing. Lucky has been known to have very thin film, sometimes breaking when the rewind motors are strong.

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Equipment for Japan trip

By , December 31, 2008 11:46 am

Thought now is the best time to document what I brought with me to Japan. This trip requires quite a number of trips in trains and local buses so I was hoping to travel with as little bulk as possible, although at the end of the day, I feel that my packs are a little too heavy.

For bags, I have a 35L backpack for clothes and chargers and items that does not require removal during transit. Even though temperature in Japan at this time of the year plunges below zero, becuase of the constant moving I will be doing, I packed only a fleece with Windstopper (Gore) material, and for waterproofing, a Mont-Bell packable Gore-Tex outer shell.  A Gitzo G1341T tripod with RRS BH25 is attached on the outside for the late evening photo shooting in dim light, and this tripod/ball-head combination is light enough to be brought along for the trip.

On my belt I have a Leatherman tool for emergency, and my Ricoh GR Digital point and shoot on the other side. They do get in the way especially when sitting down, but hey, better than nothing.

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Gitzo 1541T Tripod with RRS BH25 Ballhead system

By , October 15, 2008 12:34 pm

One of the main complains I have when hiking light, is that you have to compromise what you bring with you. I have tried to hike with less than 3 cameras but at the end always convinced myself to bring a point and shoot, a rangefinder and a SLR at a minimum. The point shoot for everyday tourist shots, rangefinder to shoot people, and SLR for the more artistic shots where I need a TTL-accurate compositioning and filtration system.

So I found myself oogling at a compact Gitzo GT1541T 4 sectioned tripod while on business trip in Taipei, and before I knew it, I had that tripod in the hotel room. It weights just shy of 1kg (0.98 to be exact) and extends to a height where you just have to crouch down, or get down to your knees to shoot. For a 6 footer at least. Not too bad considering I wouldn’t be able to cover the hiking distance I usually cover in a day if I had to bring my old Gitzo 1228 tripod with Kirk Photo’s BH-3 ball head.

What is so special about the 1541? There are many sites on the web with the technical feature description, but for me, the foot folds over the top of the head to create a compact system, enough to fit into my 25 litre backpack and sturdy enough to put on a DSLR with a wide angle lens. I know I don’t carry anything more than a 105mm prime lens when I hike, so there’s no need to consider the weight of a 200mm or 300mm lens weight on that thing.

Continue reading 'Gitzo 1541T Tripod with RRS BH25 Ballhead system'»

New Lens: Nikkor AFS 12-24mm f4 DX

By , September 1, 2008 11:23 am

After 4 years of deliberating, finally got my first DX wide angle lens on Saturday in Tokyo. It’s rated a little below mint because of overused mount, and somehow I didn’t see any rubber seal on it, so I guess it was replaced by the service centre.

So justification: I have been holding back on this lens but finally thought its time for my first AFS and DX lens (previous lenses are mostly AIS and AFD at most) because it seems to work at 18mm and above on my full frame film SLRs as well. The initial test yesterday confirms that at 24mm the lens is sharp. Can’t say too much about contrast as the weather was quite hazy here, but its nice to be able to go wide on my D2H now.

Strange texture in Neopan 400 + HC110b

By , February 13, 2008 4:51 pm

Was looking at a roll that was developed individually this week, and the pictures when zoomed, had this leathery texture to it. First I thought it was ACDSee rendering JPEG so that it loads fast, but it showed up also in Photoshop. Looked at the other Neopan 400 developed in HC110 this week and it was not present.

So the explaination has to be with the way I develop the film. Its winter now in Shanghai, so the water coming out of the tap is somewhere around 5 degrees celcius probably. My developer is always at 20C since that’s an easy timing to remember. My stopbath is somewhere in between the two. The way I process now is I do a rinse cycle with the tap water after stopbath so wash away the yellow tint in the Kodak Indicator Stop Bath so that it doesn’t taint my Fixer which is colourless. My current theory is that I must have accidently gone from 15C in the stopbath to 5C in the rinse stage, shrinking the silver crystals till they crack and giving the leathery texture.

Here’s a 100% crop to explain the phenomenon. Scanned at 2700dpi as usual.

neopan400hc110.jpg

Lucky SHD100 Followup and recipe

By , February 4, 2008 2:07 pm

Managed to find some time on saturday and sunday on a cold winters day in Shanghai to shoot 2 rolls of Lucky. Rating it at EI100 there was no special problem loading nor rewinding it on the M6.

Development was done in a 2 reel tank with HC110b (since I have a lot of stock solution, well, in stock). Timing was 7 mins for 2 x 35mm rolls with inversions every minute. Temperature of course 20C. The negatives came out probably thicker than I would like to have. I’ll try and reduce by 15-30secs next time.

The negatives are thin like most forums stated… you can tell that its thinner than most other european films, but one thing strange is that the new Lucky SHD100 doesn’t seem to curl up too much. Surely not as much as Tri-X. I usually hang it up to dry, weighted down with heavier clips at the bottom, and still it managed to remain flat this morning as I cut the strips and loaded it into the Printfile negative holders. So far so good. Scanning is next and I’ll report any particularities, if any.

Summarit and ACAM-3000

By , January 29, 2008 4:40 pm

Just about to leave Tokyo after 5 days here, and the damage this trip is a Leica Summarit f1.5 M mount, and a nice Artisan & Artist ACAM3000 bag.

Summarit was just too pretty to pass up, especially when it comes with a XOONS hood. The grade at Fujiya was B but it looked better. A little battered cosmetically, but the glass looks alright to me. And did I mention about the hood?

And photography is nothing if you dont have a lot of bags. A&A bags are some of the best canvas bags on the market and Fujiya sell them for anything between 10-20% cheaper than more other shops in Tokyo. The ACAM3000 bag has zipped top instead of flaps, which I think is better when you move around quick. The zips are large enough that its smooth and easy to open and close. Padding is plenty enough for 2 Leica M bodies with <50mm lenses and a lightmeter in the main compartment. The front compartment is large enough to fit rolls of film, so its the perfect bag. No obvious brand name on the front, so it doesn’t shout “camera bag here”.

Formula for Fujifilm Neopan SS in HC110B

By , January 21, 2008 11:00 am

Processed a roll of Neopan SS in HC110B last night. There was lack of information at EI100 for this film in HC110B all over the internet, including the Massive Development Chart, which carries only 120 film at EI100. Even on the Neopan SS specification sheet they only have development times for EI200 (6 1/4 mins at 20C). Anyway, I souped it at 5 3/4 mins for EI100 for 135 film, and it looks like came out ok. The density looks perfect, and I will do some scanning tonight to verify it.

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