NEW YORK NEW YORK – February 17 is demonstrably one of the dullest days in my photo-a-day effort: I don’t have much to show for February 17 during the entirety of my past six year effort. The tradition continues.
Day 2316 of one photograph every day for the rest of my life.
NEW YORK NEW YORK – On my way to Boston this morning for meetings. Still shooting with my Sony 7Rii and ancient Carl Zeiss Jena lenses – today a 21mm f4.5 Biogen from 1956. I bought this lens on eBay from a seller who listed it as a rare pre-war lens. Very rare indeed since the 21mm was not introduced until 1954. It’s a genuinely fine lens and a useful focal length for me. I often crop to square with wides. If you shoot level (to avoid radically converging verticals) you often end up with a vast expanse of boring foreground. The problem is solved by cropping the foreground out – a square aspect ratio works about right for a 21mm.
My largest online presence is on Twitter, where I have 92,000 followers.
Here’s a link to my Twitter feed: Woody’s Twitter feed. Twitter is actually down this morning so I’m pretty irritated.
Day 2280 of one photograph every day for the rest of my life.
NEW YORK NEW YORK – I caught an early Acela to Boston for some meetings, so I found myself in the vicinity of Penn Station (the most vile portal on any major city anywhere in the world) pre=dawn in the rain. I actually got some ok images.
Day 2239 of one photograph every day for the rest of my life.
On this day six years ago (day 48): The Seagrams Building at night from the balcony of the Racquet & Tennis Club.
NEW YORK NEW YORK – I found myself on Fifth Avenue early this evening with my Leica Monochrom and a 50 mm Summicron Asph. lens. Those of you who follow this site know that I’m usually a wide angle shooter and of course the 50mm is not a wide angle lens.
I get wide images with a norma focal length lens by shooting multiple overlapping frames and stitching them in Photoshop. I typically shoot three, four or six frames. This gives me very large, very good files to work with, so I can make perspective changes without unacceptable quality loss. In effect this technique turns the 50mm into a wide angle zoom. Good technique is important: all frames have to be exposed consistently and a single mistake in one frame ruins the whole image.
I don’t use a tripod, even at night. I brace against a street light or other structure and take advantage of the Leica lens’s good wide open performance and the camera’s good high ISO performance.
Here you go. The third image, by the way, is an iPhone shot of a platinum print of an image taken in May 2010. This was a three frame stitch of images taken with a smaller-sensor camera, a Leica M8.2
Day 2189 of one photograph every day for the rest of my life.
On this day two years ago (day 1459): Schloss Elmau. Taken with the same camera and lens combination (Leica Monochrom + 50mm Asph. Summiocron).