ehowton: (navy)

It was a massive undertaking of coordination and logistics, but I'm taking off the month of October to photograph all the United States Navy Museum Ships in an 800-mile radius!

In this order:

  • USS Marlin/USS Hazard - Omaha, NE

  • USS Batfish - Muskogee, OK

  • Unique WWII-themed handmade naval creations - Anna, TX

  • USS Lexington - Corpus Christi, TX

  • USS Cavalla/USS Stewart (and possibly USS Texas) - Galveston, TX

  • National Museum of the Pacific War - Fredericksburg, TX


I'll be posting my daily updates and raw footage here: https://www.facebook.com/groups/ehowton69wow

Then off to New Mexico!


ehowton: (Default)


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I have a handful of photographer friends, and most have given up their full-frame cameras not only for mirrorless, but specifically the Fuji X-Series. I am not a fan of quite a few things where this is concerned; in-camera stabilization for one, and crop-sensor for another. Yet time and again these previously full-frame users extol the joy and virtues of the Fuji X-Series in ways that I cannot comprehend.

So I bought one.

Gonna see what all this fuss is about.



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Anachronistic Eyes
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Anachronistic Eyes
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Anachronistic Eyes
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Anachronistic Eyes
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ehowton: (Self Portait)

Anachronistic Eyes
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Anachronistic Eyes
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Anachronistic Eyes
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ehowton: (lens)

Anachronistic Eyes
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Anachronistic Eyes
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ehowton: (Caprica)

Anachronistic Eyes
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Anachronistic Eyes
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ehowton: (Self Portait)

Anachronistic Eyes
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ehowton: (TRON)


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Kiev 88
ehowton: (UK)

Kiev 88
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ehowton: (Parks!)


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ehowton: (Captain Hammer)


ehowton: (Authors)


ehowton: (Camera Front)


ehowton: (lens)


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ehowton: (lens)




Picked up this Soviet Hasselblad knockoff as a camera prop for a photoshoot!

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ehowton: (lens)


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ehowton: (Typhoon SSBN)

At the suggestion of Moler's Camera in Wichita, I recorded the serial numbers of my gear. Turns out I have 31 lenses. As I cannot read Cyrillic, I had to look up one of the lenses I rarely use, the Soviet-era Industar-61 L/Z 50mm f/2.8 I have adapted to Canon. While I was looking up its specific nomenclature, I ran across an article by a Malaysian photographer who marveled at its unique bokeh, yet provided no examples. He did however mention the piece which had been alluding my own results; f/5.6!

So after a green-screen shoot due to horrific winds all day long, I went out afterward to shoot the backgrounds separately, dragging along the Industar-61. I have to say, I was not disappointed!






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ehowton: (lens)


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ehowton: (Parks!)


Tamron 176D
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ehowton: (Livejournal)

For those who don't know the story, I was driving from Texas to Nebraska to report to my last duty station, USSTRATCOM in Omaha when I stopped for gas on the Interstate in Kansas and experienced wind like I'd never experienced before. It was so unimaginably windy, I swore I'd never live here. Life has enough challenges without that kind of wind making otherwise easy, simple tasks unnecessarily asinine.

Of course I've now lived in Kansas longer than I've lived anywhere else, which is terribly depressing given the wind. Which I hate.

Yesterday was an otherwise beautiful, cool, sunny day and would have been perfect for pictures. Except for the fucking wind. Which was blowing so hard, not only was my daughter struggling to keep her mini skirt modestly in place, we were screaming at each other just feet away in our attempts to communicate. Which is how we ended up plastered between edifices, which was not only less than ideal for photography, it really didn't help much.

I wanted to play with the Distagon and Planer on the APS-C, but that never happened. I may have instead ordered a third Hasselblad - the 150mm f/4 Sonnar.



Helios

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ehowton: (Karajan)


Sigma Art
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ehowton: (Eric B&W)


Hasselblad
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Ever since I rented that tilt-shift lens, I have imagined over and over what I could accomplish with that tool in my arsenal. I'd assumed I would simply pick up the Rokinon/Samayang/Opteka rather than drop coin on the Canon L series, but numerous reviews had me rethinking my strategy - problematic since I don't yet make enough money off them to justify all these gorgeous lenses, and even the Rokinon/Samayang/Opteka tilt-shift is $700. And while its true I could pick up a used TS-E 24mm f/3.5L (the one I'd rented for Colorado Springs) for about the same price, I hear the new one is in a category all its own, sadly with a price to match. The lomo site Lensbaby makes a couple of awkward little selective focus lenses (Spark and Composer) but those aren't really in the same league as a technical tilt-shift.
Which brings me to DIY.
A full-frame camera requires a massive lens in order to completely fill the sensor area given the variable gymnastics tilt-shift is capable of - something which cannot yet be accomplished with a standard 35mm lens. BUT FOR ABOUT THE PRICE of the Rokinon/Samayang/Opteka, I can get a used Medium Format Hasselblad Zeiss lens and an EOS tilt-shift adapter.
And since Best Buy (with their amazing 12-months 0% interest) does not yet carry the futuristic Canon TS-E 24mm f/3.5L II, I'm looking to the past.

The one thing absolutely crazy about this T* (read multicoated) lens is the amount of stray light it picks up. Thank God for Fotodiox, as an original Hasselblad lens hood runs into the hundreds of dollars - for a lens hood!



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ehowton: (Camera Front)


Tamron 176D 28-105mm f/2.8

Canon 24-105mm f/4L

Canon 70-200mm f/4L

Helios 44m-4 58mm f/2

Sigma 50mm f/1.4 "Art"
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ehowton: (ehowton)

Ever since I rented that tilt-shift lens, I have imagined over and over what I could accomplish with that tool in my arsenal. I'd assumed I would simply pick up the Rokinon/Samayang/Opteka rather than drop coin on the Canon L series, but numerous reviews had me rethinking my strategy - problematic since I don't yet make enough money off them to justify all these gorgeous lenses, and even the Rokinon/Samayang/Opteka tilt-shift is $700. And while its true I could pick up a used TS-E 24mm f/3.5L (the one I'd rented for Colorado Springs) for about the same price, I hear the new one is in a category all its own, sadly with a price to match. The lomo site Lensbaby makes a couple of awkward little selective focus lenses (Spark and Composer) but those aren't really in the same league as a technical tilt-shift.


Which brings me to DIY.


A full-frame camera requires a massive lens in order to completely fill the sensor area given the variable gymnastics tilt-shift is capable of - something which cannot yet be accomplished with a standard 35mm lens. BUT FOR ABOUT THE PRICE of the Rokinon/Samayang/Opteka, I can get a used Medium Format Hasselblad Zeiss lens and an EOS tilt-shift adapter.


Since Best Buy (with their amazing 12-months 0% interest) does not yet carry the futuristic Canon TS-E 24mm f/3.5L II, I'm looking to the past.



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ehowton: (Camera Front)

Rec'd my battery grip today (the "Amazon Choice" Vello BG-C8; not as cheap as the less expensive ones, but fantastic reviews and not nearly as expensive as the Canon brand.) If there's one thing the 6D excels at above and beyond the SL1 its battery life - one already lasts a half-day of shooting. However, I noticed during our Pin-Up shoot, back-button focus and shutter release while vertical was less exceptional, thus the grip, which mimics the AF-ON/exposure-lock/focus point selection as well as the aperture wheel and shutter release. The battery grip also comes with an emergency sled you can fill with 6xAA batteries.



I have potentially four shoots before the end of the year, two already scheduled. Up next, Medium Format and/or Hasselblad. Stay tuned!
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ehowton: (USAF)

Emporia, KS, the "Birthplace of Veterans Day" also had, according to an internet search of military aircraft static displays, a single Phantom F4-D. Since creating an actually awesome Facebook frame for us USAF veterans, and subsequently, one for those in relationships with us at the behest of GF, I'd had the idea to shoot her pin-up style against the backdrop of military aircraft. Coupled with GF's enthusiasm for fulfilling an (unbeknownst to me at the time) lifelong dream of pin-up modeling, we both set off on our separate paths to make this shoot a reality.

Though it was very late Friday night when she concluded her first makeup test, the results were so spectacular, I didn't want to waste the effort, so I shot her against the green screen and pasted her in photos I had taken of random static displays I'd found during our trip to Colorado earlier in the month. Alas, while fun, they were but facsimiles of what I'd hoped to accomplish. We'd planned to hit Emporia the next day, Sunday, and even arose early to accomplish this task, but the weather had not cooperated, being overcast and rainy the entirety of the day. Not waiting to again waste the effort of the second day of makeup, I followed her around the local shops in town grabbing shots where I could. This was cut short due to scheduled production maintenance which kept me up late again as well, which is why Sunday's trip to Emporia was such a madhouse.

We'd slept in. We'd had to in order to have the energy for the trip. But there were also kids to attend to, breakfast to make, and all the other things which go along with a Sunday morning ritual - most of which I performed solo while GF was working on her third and final day of victory rolls and pin-up makeup, which honestly went way over time, but only because we'd just changed over to Daylight Savings Time. It was going to get dark fast once we arrived at our destination, and with that, plummeting temperatures.

First the good news - the static display was completely open to the public - it was not behind an unsightly fence; we had unfettered access to the aircraft. Secondly, it was an actual USAF variant, which I wasn't expecting as the McConnell-Douglas F4 (Phantom) was initially produced as a Naval aircraft and eventually flown by the Marine Corps and Air Force as well. I will add here as well that seven years of Air Force Intelligence studying, among other things, Air Order of Battle and I had no idea the AF variant had a tailhook - so there's that - learning something new every day.

As for the bad, once I'd hauled my gear to the site from the vehicle, I'd found I'd once again left my memory card at home, attached to the computer. Not a problem, I learned early on to carry a hardpack with no fewer than 11 occupied slots. Only, somewhere in the confusion of the weekend, and the quickly approaching darkness, I'd left the hardpack at home. I had no memory cards. Resigning myself to losing light while backtracking into town in hopes of procuring some poorly performing generic card at one of the small-town country stores I remembered placing my backup camera in my tote just in case, which was sitting in the back of the car. I was saved!

I ended up not shooting with fill flash, utilizing the soft, ambient light filtered from the heavy cloud cover, but somehow disabled bracketing halfway through my shoot, and (beyond me) discovered I had my Sigma 50mm F/1.4 Art lens set to (gasp) f/5.6. WTAF? Once I correct that to f/1.4 everything magically fell into place and we had a successful (albeit short) shoot. Happy Veteran's Day!

























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ehowton: (Terminator)

The diminutive Pentax Q takes outstanding pictures - my "Where's Waldo?" post was captured with it. However, I also wanted to utilize it as a platform for lenses which otherwise mount to mirrorless cameras. That is does less well. The Schneider-Kreuznach was sold as an M39 mount. Alas, its closer to a C-mount, but with much tighter threads, and I cannot find a PQ-mount helicoid - at all.

The others are adequate, but with the Pextax Q's insane 5.6x crop factor, it changes things up a bit. For example, it turns the Industar-50 (with the Leica cap) into a 280mm prime, but the 12mm Compar f/1.2 (bottom right) into a 67mm lens. Running middle of the road is the 35mm Fujian (pink) which delivered beautifully rendered pictures on the Sony NEX-3n, but very soft pictures on the Pentax Q. When I take it on my next trip, I'll stick to the two Pextax lenses, and leave the others at home.



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ehowton: (Moon)

GF's mom found me an old Vivitar Series-1 2x teleconverter at an estate sell, which effectively turns my surprisingly inexpensive Tamron VC 16-300mm Superzoom into a monstrous 960mm focal length lens when paired with my little SL1's crop-sensor factor. Thus I present to you, The Harvest Moon (+3 days):










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ehowton: (Opera)




I don't even know what to call this thing but The Beast; an enormous Tamron 176D, a late 90s 28-105mm f/2.8 AF zoom lens which sounds good on paper, but suffered from multiple falloffs and aberrations anywhere but dead center - in other words, perhaps a fun lens to play with? GF's mom is an estate broker who runs a successful antique shop in Pawnee Rock, KS and occasionally runs into something she thinks I might like. In this case, a worn leather bag with a handful of 1st-gen EF lenses and a Rebel XS (film) camera. But this hefty beast certainly made me look twice.

I don't even have a protective filter big enough to cover its 82mm front element, nor did the lens cap reveal itself from the bag in which it was found, which is probably why it was so filthy. I have no idea how long it set in the open, but with a handful of lens clothes and a little elbow grease, the front and rear elements were soon sparkling! The 4.5 inch barrel extends to 6.75, impressive only because of its girth, and the autofocus was spot on - the game was afoot!

So I'd personally like to thank GF's mom for the awesome find, and now please enjoy some of the curious shots this thing produced over the weekend:




105mm f/2.8



105mm f/4.5



And here we're setting up the shoot:






A comparison:



And now, for something completely different, yours truly, straight out of the camera with zero editing or lighting adjustments:

Eric Howton Tamron 176D Zero Edits

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