Reminder – This is not scientific, rather a quick test to show how excellent these Minolta fast 50mm lenses truly are at their widest aperture ranging from f/1.2-f/1.4. These are all the fastest 50’s i currently own, from plain MD’s to Auto Rokkors, they are all fantastic with very slight variations in sharpness between them, however, in my opinion, the early Auto Rokkors take the cake beating out the much revered 50mm 1.4 PG at least in the photos below and also from my experience with all 50’s i own. Nonetheless, they are all fantastic performers on the X-Pro 1 regardless of which you choose.
You be the judge… All images shot at their Widest Aperture – Straight Out of Camera JPG B&W with Red Filter -1EV – No Processing…
Blog colectivo e independiente sobre noticias y criticas de cine. ... Autor de la fotografía de cabecera "Rollo de Película": Andrés Harambour.| El copyright de los carteles, fotografías y dibujos que se incluyen en este blog ...
By now, most of us have become pretty used to the ways that technology — both devices and social web services — have changed things we have always taken for granted, whether it’s communication or photography, or something as obvious as renting an apartment or hailing a cab.
But those same kinds of disruptions are moving into new areas, and education is one of them. From university classes via YouTube and startups like Udacity to the One Laptop Per Child (OLPC) project, there are more ways than ever for children to educate themselves, even in remote villages in Ethiopia. Despite the inevitable criticisms such efforts get both from within the education system and outside it, it’s part of a powerful and growing phenomenon.
One example: At a recent conference on emerging technology at MIT, Nicholas Negroponte — the former head of the MIT Media Lab and founder of the OLPC project — talked about what his group noticed about the villages in Ethiopia, where some devices were dropped off. The Motorola Xoom tablets, which were distributed along with a solar-charging system, were delivered in boxes to two isolated rural villages about 50 miles from the capital of Addis Ababa, where Negroponte said the children had never before seen printed English words — not even packaging or road signs with printed letters.
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Sometimes, I think I’m a bit of a masochist. I actually like to shoot difficult subjects, and increasingly of late I’m also starting to write a lot about difficult topics. Today’s article seems like a very simple question to answer: what is street photography? The more I try to nail it down – and I spent a considerable amount of time on this before the Finding Light workshop – so I would know what to cover, and more importantly, what my students would expect me to cover. The first point of confusion comes when you try to decide what is ‘street’ and what isn’t: what about public spaces? What about museums, galleries, fora etc? Stairs? Restaurants? Hawker centers? Public transport, like the Underground? And here’s another question: does street photography always have to have human subjects in the frame? And when does street photography turn into travel reportage? You can see how this becomes confusing. I’ve decided that in general, the genre is loosely defined around several broad guidelines (at least for me; your mileage may vary). Let’s take a closer look at these.
Street photography is unplanned. If you’re controlling any of the elements in the scene, then it starts to become a conceptual or even outdoor studio shoot – posed models in public definitely do not count as street photography: the photographer knew (or should have known) exactly what poses, look and lighting he wanted before beginning the shoot. (You certainly wouldn’t hire a model and get shooting permission if you had no intention to shoot there, would you?) There is also a reactive element to it – spontaneity and the ability to anticipate are both critical tools for the street photographer. You really never know what you’re going to get on any given day, and that’s what draws photographers to the genre: a never-ending source of material...
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