The Beauty and the Beast IV

June 30th, 2019

In my from-time-to-time-mini-series about cam­era vari­ants of ‘The Beauty and the Beast’, this time I made a cof­fee break on a hot sum­mer day in  my Home­land and put two won­der­ful cam­er­as side by side. A Voigtländer Bessa R, armed with a Voigtländer Col­or-Sko­par 2.5/35mm lens and a Fuji X100s with its fixed lens, the Fujinon Super EBC 2/23mm.

The Voigtländer Bessa R from 2000 is a full manu­al ana­log film rangefind­er, using its bat­tery for the expos­ure meter only. Tech­nic­al specs and loads of reviews are avail­able on the web, so I don’t repeat it here. This Bessa cam­era line from Cos­ina was an attempt to deliv­er afford­able rangefind­er-style cam­er­as to the audi­ence from 1999 on.

The Fuji X100s from 2013, as all cam­er­as in the X100 line, is Fuji’s suc­cess­ful retro attempt to bring back manu­al con­trols and the visu­al rep­lica of the legendary rangefind­er era. An APS-C size X-Trans sensor, fully digit­al, with all the auto­mat­ic-modes one might need and all this packed in a body resem­bling the Leica M style.

So it’s all going down to ana­log vs digit­al and fully manu­al vs fully auto­mated. Shoot­ing both of them is a pure pleas­ure and this time I’ve no clue which is to be named the beauty and which the beast. So what, let’s have a cup of cof­fee and enjoy the haptic­al and visu­al impres­sions.

Do you have pairs of cam­er­as which you’d call ‘The Beauty and the Beast’ too?

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

A Nikon F-301 travelling Ireland

June 22nd, 2019

Over­ture

Mid 2017 we made a two week trip through Ire­land. Motiv­ated by Jim Grey from Down the Road who made sev­er­al won­der­ful posts about his jour­ney in 2016, I tried to get hands on an old ana­log Nikon F-301 cam­era with a 35mm lens attached. I packed five rolls of Agfa Vista 400 to feed the Nikon and packed … guess what .… my Work­horse as an every­day backup togeth­er with its fant­ast­ic M.Zuiko 12–40mm PRO lens.

 

 

You can find the Agfa Vista 400 col­our ver­sion and a black & white ver­sion of all images here … I will add them in my cur­rent Ire­land series over the next days and weeks.

After this, in a second series, the digit­al res­ults will fol­low.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

A Yashica T5 sailing the IJsselmeer

June 21st, 2019

In sum­mer 2017 we chartered a boat, a 24m long tjalk, to sail the IJs­sel­meer and Mark­er­meer for a week. The Vrouw Dina — that’s the boat’s name — was com­manded  by two skip­pers — Simi and Daniel — and we acted as their ama­teur­ish part time crew.

I choose my old Yash­ica T5 to come with me … loaded with Agfa Vista 200. Reas­ons for choos­ing the Yash­ica T5 were that it’s water­proof — to a cer­tain degree, that it’s small — it fits in a pock­et and that it’s fully auto­mat­ic — per­fect if you have not much time to fiddle around with set­tings Sure, I had my work­horse — guess what — with me, but this time there was no use for it, as the Yasi­h­ica T5 did a very good job and the rest was shot with an iPhone. All images from the film can be found here.

We star­ted from Enkhuizen, get­ting a first brief­ing on-board the boat. After load­ing our lug­gage, we star­ted our first tour to Hoo­rn. The small town, foun­ded in 716, was name-giv­ing for one of the most fam­ous loc­a­tions on earth — Cape Horn. Willem Schouten, who circled it in 1616, named the south­ern­most part of the Amer­icas after its birth­place.

Dur­ing Holland’s Golden Age between 1602 and 1799, when it became a glor­i­ous sea­farer and trade empire, Hoo­rn was an import­ant home base of the Dutch East India Com­pany (VOC), one of the first mul­tina­tion­al cor­por­a­tions, issu­ing bonds and shares of stock to the gen­er­al pub­lic.

On we go from Hoo­rn to Mon­nik­endam.

… and fur­ther we go from Mon­nik­endam to Marken … and fur­ther on to Medemb­lik.

On our way to Lem­mer …

… and back to Enkhuizen.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

Olympus OM-2n and H.Zuiko Auto-W 2.8/24mm on Crete

June 12th, 2019

As told in one of my pre­vi­ous posts, I was on a trip to Crete and this time an old Olym­pus OM-2n came with me. I decided to pick my Olym­pus H.Zuiko Auto-W 2.8/24mm lens and loaded an Agfa Vista 200 film. The film is on its way to the lab and I’m keen get­ting it back soon. Until then, here is a first impres­sion … show­ing the hard life as a hiker.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

Olympus OM-2n with H.Zuiko Auto-W 2.8/24mm

May 24th, 2019

Just leav­ing for a trip to Crete. Hav­ing the good old Olym­pus OM-2n with its H.Zuiko Auto-W 2.8/24mm lens with me. The OM-2n has recently been for a CLA at the OM-Labor in Frank­furt, Ger­many. The 24mm lens has a nice repu­ta­tion and I’m keen to see how this combo fits. The cam­era will be loaded with Agfa Vista 200 col­or film.

Besides that, I’m car­ry­ing with me my work­horse — the Olym­pus OM-D E-M1 with its mar­vel­lous M.Zuiko 2.8/12–40mm lens and — as a light­weight addi­tion, the Ricoh GR II.

When I’m back from the trip I’ll have a short report in my tiny blog and put some images on my flickr page.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

Hiking the Haselstein and the Center of Central Europe

May 14th, 2019

On this hike I car­ried with me three cam­er­as — maybe I should stay at one per hike only, as weight is always an issue.

The film one was a Con­tax G2 with its Carl Zeiss Biogon 2.8/28mm attached. I loaded a Kodak Ultramax 400. After the second image the cam­era stopped work­ing due to an empty bat­tery. As I had no spare on hand, all the rest was made digit­al only.

The first digit­al one was a Sony A7R2 with a M39 Voigtländer Col­or-Heli­ar 2.5/75mm attached where I loaded again … a pretty cool sensor ;)

The second digit­al one was the beloved Ricoh GR II.

The full album can be seen here on my flickr pages. I made a col­or ver­sion and a black & white ver­sion again.

Images above were made with the Con­tax G2, Carl Zeiss Biogon 2.8/28mm on Kodak Ultramax 400.

Images above were made with the Sony A7R2, Voigtländer Col­or-Heli­ar 2.5/75mm.

Images above were made with the Ricoh GR II.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

Hiking the Waldnaabtal

March 30th, 2019

On this hike I used two cam­er­as. The film one was a Con­tax G2 with its Carl Zeiss Biogon 2.8/28mm attached. I loaded a Kodak Ultramax 400. The digit­al one was a Sony A7R2 with a M39 Voigtländer Col­or-Heli­ar 2.5/75mm attached. I loaded … a pretty cool sensor ;)

The full album can be seen here on my flickr pages. I made a col­or ver­sion and a black & white ver­sion again.

The Con­tax G2 is a gem … I men­tioned it already in anoth­er post about its sib­ling, the Con­tax G1. Regard­ing the lens … I’m impressed by the sharp­ness.

All images above were made with the Con­tax G2, Carl Zeiss Biogon 2.8/28mm on Kodak Ultramax 400.

The Sony A7R2 … is simply a cool tool which I mainly use with vin­tage glass. The manu­al M39 Voigtländer Col­or-Heli­ar 2.5/75mm is so easy to handle with the focus peak­ing, it’s light­weight, small and deliv­ers a won­der­ful sharp­ness.

All images above were made with the Sony A7R2, Voigtländer Col­or-Heli­ar 2.5/75mm.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe, you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

 

Frankfurt in January

February 19th, 2019

It was cold in Janu­ary, but this did not stop us from walk­ing through this beau­ti­ful city with so many nice places and inspir­ing per­spect­ives … depend­ing on where you go and what you (want to) see.

This time I used two digit­al cam­er­as. Num­ber one was a Ricoh GR II with its mar­velous 2.8/28mm lens. Num­ber two was my work­horse, an Olym­pus OM-D E-M1, this time with a M.Zuiko 2.8/7–14 mm lens, which gives a nice width and which is part of the holy trin­ity — the m.zuiko 2.8/7–14 mm pro lens, the m.zuiko 2.8/12–40 mm pro lens and the m.zuiko 2.8/40–150 mm pro lens. I still have to improve on these very wide city shots. As often, I made black & white and col­our ver­sions.

The full series can be found here.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

Photographers Christmas Dream

December 16th, 2018

Com­ing back from a short trip to Nürn­berg, I also had time for a stay on the Nürn­ber­ger Christ­kindles­markt … and it’s world-fam­ous Schasch­lik booth (pic­tures later, when the film has been pro­cessed). Found there an amaz­ing old photo shop with some nice Pho­to­graph­ers Christ­mas Dream. As it was Sunday, the shop was closed … unfor­tu­nately.

The real reas­on for the short trip was some­thing more ser­i­ous, which lays back more than 70 years … dated in the days of World War II. But more on that later when the film has been pro­cessed. I used a Min­olta Dyn­ax 7 with an AF Macro 2.8/50mm lens attached and a Kodak Ultramax 400 film loaded.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.

Sevilla, when it’s still cold at home — Part 7

December 14th, 2018

The Plaza de Espana in the Parque de Maria Luisa was built for the Ibero-Amer­ic­an Expos­i­tion of 1929. The build­ings at Plaza de Espana form a huge half-circle rep­res­ent­ing the four ancient king­doms of Spain.

Parque de Maria Luisa offers some nice views includ­ing numer­ous build­ings, built for the Ibero-Amer­ic­an Expos­i­tion.

Monte Gurugú.

Pabellón Real.

Museo Arqueoló­gi­co de Sevilla.

Park view.

The Real Fab­rica de Taba­cos de Sevilla — now part of the Uni­ver­sity of Sevilla — was the ori­gin­al place where the story of Car­men, the Opera from Biz­et, played.

It is told, that in those days the tobacco build­ing, where only young women were work­ing, was safe-guarded by troops to pre­vent young men from enter­ing the build­ing. As the tem­per­at­ure was quite hot inside, the young ladies were only slightly clothed.

Today, the old fab­rica is part of the Uni­ver­sity of Seville.

This part closes the Sevilla post.

In case you’d like to com­ment, it’s appre­ci­ated … and maybe you want to vis­it my web­site or my flickr page too.

So long … and thanks for all the fish.