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The following opinions have been automatically translated with Microsoft Translator. | Sigma 35mm f/1.4 DG DN Art Pros: surrender Cons: Considerable weight and bulk, electronic focus Opinion: As a Sigma FP owner on which I mount all my vintage lenses, Leica summicoron, Voightlander and dies planar for Hasselblad, I felt the need to have at least one modern lens that fully resolved the sensor, and I wanted to choose this lens basically for two reasons: the 35 was the only focal length that I didn't have on the other systems and I wanted a sigma to give continuity to the kit and reward this brave little Japanese company. On sigma fp it's big as a lens and sure it is unbalanced but as you may know there are various knobs and cages available. I foresee its use with plate, visor, underneath knob, side knob and safety strap. For now I have had the opportunity to try it with even very bad and very strong lights to do excellently managed. The autofocus seems fast to me but I'm not experienced. Manual focus, on the other hand, leaves me with some perplexity, for someone like me who comes from solid metal optics the idea of an electronic focus and therefore does not exactly correspond to the movement impressed by the photographer on the ring for me is a limitation of these lenses. It was much nicer and more sensible to have a physical fire. I can give you a thousand examples, but if you are following two subjects in relation to each other, the classic example the bride and groom at the altar, you must know that a certain turn of the ring corresponds to the focus on one of the two, so as to quickly pass and return to the subject that you want to emphasize. With these lenses it seems impossible to me. Of course, in a posed portrait there won't be this problem but as far as street or other situations are concerned, especially in TA, for me it's a limit and I wonder if it was mandatory to have it or if it was a constructive choice. Apart from this and the aforementioned cap, a problem that can be solved with 20 euros of filter, however, it is not a drama, the lens is good and I think it will become my main lens and indeed, I would like to be rich enough to have the 14, or 14-24, 50, 85 and a zoom. But since I'm as poor as poop for now I'll keep this and make it suffice sent on December 09, 2023 |
 | Leica M2 Pros: I review here the M3, the first M model, and not the M2 that came out later. Pro? simply the best 135mm machine ever built by the human being Cons: has no display meter. but perhaps better. at least it doesn't squander. Opinion: Ermanno is perfectly right, we are confusing the M2 with the M3 and for such an accurate site that aspires to become a reference is a great flaw: not out of Leicista fetishism but out of respect for a medium that has literally made the history of photography. It's worth repeating it succincly. There was once photography, a cumbersome thing made of means that stood on stand, took a single sheet, and gave great emotions (those were photographers, one on all Vittorio Sella, other than autofocus pixel burst batteries etc). Some geniuses such as Victor Hasselblad and the Leitz lineage tried to make photography an accessible and more agile medium, the first in large format with the fantastic V system, the other had the equally interesting intuition with the format used by kodaks for cinema. As lens and film technology progressed, it was increasingly conceivable to have photos of acceptable quality even with a smaller portion of film. The 135mm, abbreviated 35, with which we still shoot the films with budget and on which are designed the full frame sensors of our technological machines. Leica I, II, III represent the teenage models of the real house, which came to produce the M3, M2, and M1 and then continued with the M4, M5, M6 and M7. Each with the same principle but different peculiarities. The M2, as reported by Ermanno, was less expensive and productively less perfect. In addition, the viewfinder was optimized for the 35, while the M3 is the only one with a 50mm viewfinder with perfect magnification. the M1, even later, did not really have the telemeter for example. The M3 has been THE PHOTOGRAPHY, especially of photojournalism and what today we would call street, or reportage, for decades. Undisputed. Each professional had one to accompany the Rollei bioptic or the aforementioned Hasselblad. More agile, less cumbersome, with 35 poses compared to 12, had net advantages. Henry Cartier Bresson, Capa, Elliot Erwitt and the magnum photographers were shooting with the M3. Before saying that a car is outdated you should be able to take such a picture to Muhammed Ali while without warning throws three shots into the room in the bad light condition of a gym, with telemeter, without an exposition, without possibility to do it https://www.pinterest.it/pin/545428204849182006/ Take such a picture and then you start complaining about autofocus or gusts, or lack of pixels. Maybe if our photo isn't good enough it's because we're neither Ansel Addams nor Capa, and it won't be technology that makes what's in front of us stronger or more iconic. Moreover, until the advent of the cheaper Nikon F, and easier to use perhaps, the telemeter was travel photography, and anyone should confront it once in a lifetime. Moreover, the pleasure of shooting an M3 is still unparalleled today, the taste for the shot itself, I would say. I gave myself one after a lot of years of passion. nothing to take away from my Nikon fm3a, the last real Japanese mechanical reflex, of that lineage that hurt the Germans of Leica so much since the late 60s, but the telemeter shot has in itself characteristics that can not be compared with the reflex system. silence, the leaving part of the photographer's face visible to the subject, the lack of overturning of the mirror and therefore the possibility of avoiding the micromove, the constructive charm of an object that after 60 years is still impeccable. Please add the M3 to the available machines, it is a disretry for all this lack. sent on January 02, 2020 |
 | Hasselblad 500 C/M Pros: Modularity. Mechanical. Construction. Aesthetic. Sound. Versatility. Weight. Cons: At one time maybe the price. now not even that. Opinion: My mother gave me this car when I started having a wedding as a boy. They told us it was the best car and I took it maybe with a bit of lightness. It actually took me years before I stopped being intimidated by the medium. Everyone with photography has his own relationship that you want to do. Years later, while I was in full acquisition syndrome and a little gnawing that I couldn't take a medium a little embanked https://www.juzaphoto.com/topic2.php?l=it&show=last&t=2612962#19260433 at one point I said to myself, "Hey, but I have a hassy in the closet. who cares to take the last cry of a modern medium?" was a joy. the first rollers thrown, I think it's inevitable. but getting familiar with the approach that it requires for me is simply the PERFECT machine. Apart from that it's a poem just to see it and touch it, to use it, to feel it, to take amazing photos. everyone uses it for landscapes and study I make a very street use of it, as a battle. its modularity is proverbial. mechanically stainless, infallible. the lenses that are now very little for me are still extraordinary. I mount them on sigma fp and at 24mp they crop a bit but they have an extraordinary solvency. to the touch are sassi. along with the 80 I also took the mythical 150 and 50 first version hope one day to take even the 40fc. are extraordinary lenses. Precise. the soft, precise, never nervous blurry. a machine full of genius that is slowly discovered. I can't help it anymore. I continue to use the nikon when I need a lot of shots but there is no comparison, the negative of a 6X6 and this machine in particular is another thing. 35mm can't get there. beautiful to use, to see, perfect results. for me the absolute number 1. I give her 10 because I can't think of anything but perfection when I think about it. Ansel Adams used it. For me, those who approach film photography must definitely evaluate this medium. it's a machine that makes you think before you take a picture, sure, but it's much less cumbersome than it may seem in the first 5 rollers, in fact, it's a machine that asks for respect and understands it but then assists you, to prevent you from doing big or small damage. even in the event of a collision. Victor at the first presentation in New York asked bystanders to drop it to show its resistance. Volvo style. If Nasa used it for fake landing manfrina it's because it was and is the most reliable camera produced by the human mind. It's a shame that they have abandoned the wonderful digital benches, it would be nice if a company could make the actual 6x6 sensor coming to a super format and especially without cropping the lenses. which is a crime especially when it comes to the wideangles, the first with that sharp corner to corner, without the slightest shadow of vignette even at TA (reason why we did not go to the moon, where instead in the photos there is an obvious fall off of side light typical of artificially lit scenes. the debunkers say that it is the fault of the Zeiss lenses for the V System. but those who use them know that it is a blasphemy to try. And the canvases, with those slow and precise fires, that wonderful system to immediately understand the depth of field by taking a look at the area and shifting the times without changing the diaphragm, if in the first roller they seem to you accessories maybe not even so welcome then you begin to understand its meaning. you have to remove the lens with the charged machine otherwise it won't come back. it sounds like a joke but it is so. If you have a doubt about this machine, take it off. and if the photos don't come good to you, it means you didn't have something interesting enough in front of you. because she doesn't lie. he's not wrong. If the aliens were to land and we had to explain the photograph to them, they should be shown the Hasselblad. sent on December 26, 2019 |
 | Sigma FP Pros: Size, sensor, solidity, versatility, tropicalization Cons: Lacks stabilization, Wi-Fi, viewfinder, no video headphones, line spacing artificial lights Opinion: sent on December 24, 2019 |
 | Nikon 28mm f/3.5 PC Ai-S Pros: metal Cons: in relation to the price none Opinion: Japanese metal early 80's. Precise and handy ferrules. will be exceeded as a lens but for 50 euros with a lot of caps and UV filter is a bargain. I'm testing it both in digital and in film but it seems to me already clear that like every lens Ais will give the best of itself at 5.6 even if good already at TA. I love these lenses. if I find them in good condition at these prices I can not not take them. among other things, compared to the brighter versions, it is very competitive because already good at TA while it seems (KenRockel) that other models brighter to TA do not respond well, so it is worth having f3.5 and pay less loooong. On 24 and 35 I will try to gain something in brightness but in this lens it does not bother me 3.5 sent on March 31, 2018 |
 | Nikon AF 24-85mm f/2.8-4 D IF Pros: versatile Cons: it's zoom. loses a diaphragm Opinion: I do not like zooms but this lens has been with me for a long time, I mistreated it and now I would like to rearrange it. as a first zoom is great, useful the 35mm macro function for portraits very close to the subject. Of all the lenses I have is also the only one that gave me problems, and probably the cost will no longer be worth the repair. but if you find it in very good condition and you lack a zoom it can be a good idea. but given the low cost of fixed lenses of excellent quality, I recommend getting used to landlines. If you go out with the bag it is worth taking a couple if instead you go out only with the car will be much lighter and less invasive. sent on February 19, 2018 |
 | Nikon 135mm f/2.8 Ai-S Pros: price, practicality and quality of materials Cons: who knows... Opinion: even in the canvas I would like to add a lens to my kit and I'm looking around .. so I stumble in this lens that I already have and that I use often and saves me every time. A strong lens, metal made in Japan of a time. I would like to try even the most precious series but every time I find an ai pretty much given to take dust from the depressed dealer of "vintage" machines I can not not make an ATM and take them, even if I also found the 35 .. The hood is very comfortable, the ring of fire flows very well and the diaphragm is dry and snaps like a clock. I've never cleaned or shown it, and it will probably come to my nephews still working perfectly. rnTrovandomi very well with the focus in manual I do not really see the reason to spend a lot of money for fixed lenses until these jewels still turn in the used market, sometimes I go to see some review of lenses still in production and emblazoned to then find that TA they are not good, and are made of lighter materials and tend to break. Who knows, maybe nikon still in the 80s had not planned the obsolescence that has invaded the world. In any case, the old nikon manual lenses are fantastic. With figures then, I would buy an armadiata. sent on February 17, 2018 |
 | Nikon 50mm f/1.4 Ai-s Pros: price reliability robustness Cons: I would like to understand it Opinion: found at 100 or 150 euros I do not remember. impeccable lens, I'm fine at TA and I use it often in digital. Recently I'm starting to shoot in film but I expect even better results. I would like to try more noble lenses to understand the difference but for my use and for my budget with this lens I'm fine for normal, I think I will take the same series in 35 so as to have the complete kit since I also 135. rn sent on February 17, 2018 |
 | Nikon FM3a Pros: indestructible, functional Cons: nobody Opinion: rn I have always had this car, bought as soon as I left. rn I mistreated, slammed, crushed ... it is still new. I really like the exposure system, it's very clear where are our times and those of the exposure meter. The only flaw perhaps that it is not illuminated, so in situations of low light it takes a little 'patience. The machine has thousands of shots and has never jammed, never given a problem. I'll never get rid of it. rnThe black version, then, is also rather stealth or at least in time did not give the idea of ??expensive machine, particularly suitable for reportage also hard, given the ability to always shoot without any battery (obviously losing the exposure meter). I do not even know what to say. rnCombina perfectly mechanical, quality, price. If it were a clock it would be mechanically perfect, absolutely minimal and immortal .. What I would buy sent on February 16, 2018 |
 | Leica M-Monochrom Pros: Leica: compactness, strength, reliability, stealth, mechanical and file quality. Cons: missing video, missing fire control if not with rangefinder (but that's okay) and the price. Opinion: Monochrom ccd + 50mm summicron f2rnrnTestrnrnChe machine..rnI had already known the MM cmos of Daniele.rnThe feeling is the same. In this model is missing the ability to make videos even if hardly those who buy it will use it mainly for this (but it annoys me) the monitor is a bit 'smaller and obsolete, and you can not push the ISO as the most recent means. But there are good used ones and I would like to enter the Leica world with a new kit, hoping to maintain its value in the future.rnrnThe car is wonderful, sensibly narrower than the older sister. Those who know the Leica system can only worship it, those like me born born with the reflex film will have to understand if it is with the rangefinder because here it lacks the ability to have the external viewfinder and we do not have the magnification to monitor to control the fire at frame of the frame, but at the bottom of the rangefinder or you love it (and tell us) or hate it. I feel good. rnrnAfter a long brief with Mattia del Leica store Firenzand I understood perfectly how to expose it. As always, maximum attention not to burn the highlights and then you find a file with a dynamism of incredible shadows. rnrnSe base with cmos contrasts a bit 'images here maybe soften and then push the ends of the curve, given the excellent acutance, but the feeling of maximum control over all darker tones is the same. And it is still subjective. rn Maybe for the way I shoot with the ccd I will already be closer to the final result but there are those who prefer to have a softer file and give it their taste in pp. rnrnAnche the pleasantness of the shot is the same, embellished with some optional as the ability to shoot silently and then release the finger and emit the sound once left the subject, great for stolen photos or in particularly quiet settings. rnrnI hope to be able to put the budget that I need but I am determined to reach the lens within the year and be able to get me somethinghe beautiful old lens, with which I think the ccd from its maximum if you are not looking for an extreme resolving that has never affected me as much as the control of the latitude of the pose. rnrnSurely my next car, just a question of vile money and unpleasant time now. rnrnhttps: //www.juzaphoto.com/galleria.php? l = en & t = 2668055rnrnhttps: //www.juzaphoto.com/galleria.php? l = en & t = 2668056rnrnhttps: //www.juzaphoto.com/galleria.php? l = en & t = 2668057rnrnhttps: //www.juzaphoto.com/galleria.php? l = en & t = 2668069rnrn sent on February 04, 2018 |
 | Nikon AF 20mm f/2.8 D Pros: it costs little, weighs little, makes it good Cons: nothing has ever occurred to me Opinion: I'm not an expert, but I do almost daily use of this lens with interior photographs. great sharpness, I also like the blurred as it is rarely used. leveling it to f16 and obviously priorities of diaphragms I sent to photograph people who did not know what he was doing but brought home the result. one deserves a polarized match for backlit situations. I'm looking for a lens even more pushed for the d700 but it will not be easy to match its practicality, robustness and mechanics. sent on December 19, 2017 |
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