NEW YORK NEW YORK – I’ve pointed out before that when the building we live in was built our apartment had a sweeping view of the East River. Now it’s a cityscape, an endlessly changing mosaic that I actually prefer. I explored it today with a long lens on my Leica Monochrom.
Day 2545 of one photograph every day for the rest of my life.
NEW YORK NEW YORK – -Look’s like Francesca’s back home again. She has interrupted her post-bar pre-work travel to come home to have here broken foot repaired at the Hospital for Special Surgery. She’s cheerful under the circumstances. Taken with my Leica Monchrom and 35mm Suumilux lens. The Monochrom continues to wow me.
NEW YORK NEW YORK – What a mess. This morning I worked on cameras (which is overdue). I shot a test roll on my new M4 to check shutter speeds and cleaned lenses and the sensor on my M9. I walked around the neighborhood and captured a dozen or so images for this project, and shopped to update my wardrobe a bit. Here’s the mess. On August 21 (that’s tomorrow but remember that I post these about a week late) I took another pass at cleaning the M9’s sensor, but I hit “format card” on the menu on the camera. rather than “clean sensor”. In other words I wiped out the images for August 20. I spent a couple of hours with disk recovery software trying to fix the problem but failed. This is the third time that mess ups involving storage media have jeopardized this project. People talk about storage media failing, but it’s actually much more likely that people fail.
Anyway the test roll of film that I took with the M4 saved the day – it came out fine. Here’s one of the test images taken with my M4, Ilford Delta 100 film and a 50mm Dual-Range Summicron lens.
NEW YORK NEW YORK – I had a bit of time to day to get to know my new lens a bit better. Here’s an image taken in our living room. I’ve used a technique called focus stacking: taking 6 (in this case) images with differing focus points and combining them (using specialized software) into a single image. This was taken with my Alpa Max; I’ve leveled the camera and shifted the lens downward about 12mm to get a pleasing composition with a prominent foreground (a common strategy for shooting wide angle lenses) at the same time keeping vertical lines true.
Here’s what my Alpa TC looks like with the new Rodenstock 32mm lens and my Phase One digital back. As you see it’s a handful, but actually quite manageable.