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One Camera, One Lens : Voigtlander Nokton 40mm f/1.2 and Sony a9 in Baja

You know that moment when it’s time to pack your camera bag and you can’t decide what to take so you grab everything? I know this feeling well but this time I committed to the simplicity of one camera, one lens.

My default vacation lens kit usually consists of a traditional 35mm, 50mm and 85mm combo. To pare down to one lens, I would choose either the 35mm or the 50mm; but, what if there was a magical fov somewhere in between, say a 40mm? And what if that 40mm was also super fast, like f/1.2 fast? Luckily, the new Voigtlander 40mm Nokton f/1.2 manual focus lens does exist and it graced my doorstep just a few days before leaving for a quick recharge at Hotel San Cristobal outside Todos Santos, Baja California Sur.


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Konica Hexar AF lens conversion – The Summicron Killer

As a self professed classic film compact camera junkie, the ability to use some of the lenses that were originally affixed (not interchangeable) to those cameras, is intriguing. In the past I’ve written about converting the Summarit 40mm f/2.4 from the Leica Minilux and even using the converted lens with the Techart autofocus adapter. Today we have another personal favorite – the 35mm f2 lens from the legendary Konica Hexar AF.


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First Music Festival with the Sony a9 – Float Fest 2017

July in Central Texas, 14 days of triple digit temperatures with no break in sight and someone had the bright idea to throw a music festival. It may sound like a level of Dante’s Inferno, but the Float Fest producers have it figured out, with a leisure float down the cool San Marcos river, on-site camping, a carnival, helicopter rides and stages headlined by Cage the Elephant, Weezer, Zedd and MGMT.


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Sony FE 16-35mm f/2.8 G Master Review

With each new digital camera release we move further away from the dirtier elements of photography. No longer do digital sensors struggle with anemic dynamic range and poor low light performance. Everything is “clean” these days.

At the same time, lenses are being polished and aligned, exotic elements added and AF systems improved until they are the ultimate in optics. Sony’s GM line (or G Master) is their play at this high-end of lens design. I was lucky enough to get some pre-release time with their newest entry in the GM line, the FE 16-35mm f/2.8 GM. The questions I wanted to answer were whether this new lens was going to be too clinical, or was there going to be some glaring deficiency that I couldn’t overlook.


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Secret Spoon

Rewind. 2005. The Parish, Austin, TX. A first attempt at concert photography with a band that consistently dropped sonic milestones throughout my adulthood. Somehow I kept my shit together and strung together a few images I was proud of, and that was the fire that lit my photographic career.


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