NEW YORK, NEW YORK – I’ve decided over the next few weeks to spend more time shooting with my Hasselblad. It’s a terrific tool for landscape, urban or otherwise. It’s poorly adapted for quick shooting in poor light so on days when I’m counting on getting my photograph at an evening event I’ll continue to rely on my Nikon or Panasonic.
Here’s the view straight up on the extension of Riverside Drive South from 72nd Street with my Hasselblad H4D-60 and an HCD35-90 lens at 35mm.
NEW YORK, NEW YORK – Today I had breakfast with a friend near Columbia so I used the opportunity to continue my explorations of the Episcopal Cathedral St. John the Devine – the massive unfinished structure at Amsterdam Avenue and 112th Street. For more information on this massive undertaking see St. John the Divine. Shot with my Leica M9 and a 12mm Voigtlander lens. The frontal composition obviously has a lot in common with my December 7, 2010 entry.
NEW YORK, NEW YORK – I took a walk today on the Lower East Side, ending up at Frankies on Clinton Street for an excellent lunch. Frankies Spuntino. The Lower East Side maintains its sruffy vibe well into the 21st Century, although some streets like Clinton Street are edging cautiously toward gentrification. This is a storefront on Delancey Street taken with my Leica M9 and my ever-present Voigtlander 12mm lens.
NEW YORK, NEW YORK – So today’s post is a tale of a lens. I’m a gear head, perhaps even a gear whore, but I don’t often talk about cameras and lenses here because it’s politically correct to downplay the gear one uses – after all a great photographer can take great pictures with anything. The later statement isn’t actually true – many luminaries in the photo world have selected their gear with great care – often finding the best technical solution for the types of images they take: Ansel Adams and his 8×10 Deardorff, Cartier-Bresson and his Leica and Lee Friedlander (in his later years) and the Hasselblad Superwide. I’ve proven on these pages that I can’t take a decent picture with an iPhone.
Leica has issued a new version of it’s 35mm f1.4 Summilux. It replaces a lens that I owned but sold when the rumor of a replacement circulated – essentially to raise cash to pay for the new lens, which is bizarrely expensive. The lens it replaces is famous for being bitingly sharp and having remarkable contrast corner to corner at all apertures. The former Summicron had “bokeh”, the character of it’s out of focus image, that made it unique. Unfortunately it also had a tendency for the focus point to shift as it was stopped down, resulting in very slightly out of focus images in the range f4.0 to f5.6 or so. This trait, which was not visible with film but is visible in the more demanding digital realm, drove me nuts. The new lens retains the character of the original but has solved to focus shift issue. Here are some links to reviews: Irwin Puts reviews the 35mm Summicron.Steve Huff on focus shift. The new 35mm Summilux has been back ordered for about a year. My copy finally arrived today.
Today I’m posting a picture of a pair of Venini vases (I collect Venini) drying in our kitchen, together with a close up crop to illustrate the character of the out of focus image. This was shot at f1.4. I’m also including a picture of the building that houses the Synod of the Russian Orthodox Church Outside Russia and a crop, to demonstrate the biting sharpness and contrast. This building was originally built as a residence for George F. Baker Jr. by Delano & Aldrich, the firm that became the ‘society architects” in New York after Stanford White’s murder in 1906. The Russian Orthodox Church Outside of Russia is a splinter of the Russian Orthodox Church formed after the Bolshevik Revolution – it is now reconciled with the main body of the Russian Church.
The vases:
A crop from the vases illustrating the characteristic “bokeh” of this lens (note the circular highlights):
Here’s the Synod:
A crop of the Synod – again illustrating this lens’s special character, but also the Leica’s tendency to blow saturated yellow highlights:
NEW YORK, NEW YORK – I promise that I’m going to quit this. I mean the wide angle thing. Quit it real soon now. Maybe it’s becoming a crutch. Or worse. My name’s Woody and I’m a wide angle junkie. But later. Maybe. For now I had my Leica and my super wide lens in hand as I walked by the Guggenheim earlier today. If you’ve been following these pages closely you’ll know that the Guggenheim is the one icon that I’ve been struggling with. Well today with Mr. wide I caught it – the first image of the museum that I’m really happy with. Here it is (this is another one of those shot straight up images that could be oriented any of four ways, but I prefer this orientation):
