Leica Full Frame?

Leica’s announcement last week of a “perpetual update program” involving hardware upgrades to the Leica M8 to keep the camera always up to date with the “latest refinements and developments in technology” is certainly an interesting development. Given that Leica has such a commitment to the body size and shape of its cameras, and the really solid build quality – unlike other modern cameras, it certainly makes great sense.

The cost of the upgrade is now said to be 1200 euros (£900.) This seems fairly reasonable compared to the replacement cost of a quality digital camera – and particularly given Leica prices. After the upgrade the M8 will essentially be a new camera with a new guarantee period. I’m not sure if the update policy will keep my M8 useful for as long as my Leica M2 has been but it is certainly a revolutionary policy for a digital model.

The Nikon D200 which I’ve now been using intensively for over 2 years, will cost me rather more to replace and I probably will do so fairly soon (and in any case I will soon have to take it in for fairly expensive repair.) So

One of the more interesting statements from Leica is “We are presently investigating
the possibility of further upgrade steps including the camera’s complete digital section, even including the sensor itself
.” What has become clear is that at some future date Leica hope that this will include the replacement of the current 1.3x sensor with a full-frame one, assuming that they can find a technical solution to the problem of using such a sensor with Leica wide-angle lenses. Those people who’ve said to me that they are “waiting for the M9” need wait no longer.

I downloaded and installed the new firmware (1.201) and it seems to have improved the colour balance noticeably; I haven’t yet found any problems. You can download it and the information about the upgrades from the M8 download page.

Future-Proof Camera?

Leica M8 owners have recieved an interesting e-mail promising an update package for the camera, the first in what is described as “a perpetual upgrade program” which will result in the Leica M8 being able to “incorporate the latest refinements and developments in handling ease and technology.”

Registered users can buy certificates for the upgrade in March, but the factory will not start the work until August 2008, and we have still to be told the cost, but it sounds as if it will be very useful.

Included are two features which are significant improvements:

  • Scratch-proof sapphire glass cover for the LCD monitor.
  • Noise-optimized shutter with a fastest speed of 1/4000s.

The shutter noise has been one complaint by many users, including myself, who found the M8 sound much more obtrusive than the film Leicas. You can compare the two in the sound files on the Leica M8 Downloads page.

Also welcome is the news that a firmware upgrade, version 1.201 available from tomorrow, Feb 1, (presumably from the download page above) will improve the automatic white balance, one of the annoying minor (for those of us who shoot RAW) defects of the camera.

Leica does seem finally to be getting its act together with the M8, and it’s good to see that it intends to keep the early purchasers of the camera up to date rather than bring out a new model every couple of years. I just hope the cost will not be too great.

Along with Cornerfix – and of course those IR cut filters – we look like ending up with a truly usable camera. Like earlier Leicas it is a great camera to use – within its limitations, and the discipline that this imposes can be extremely productive. I found it very useful in Paris last November when I wanted to travel fairly light, shooting mainly with a 35mm f1.4 lens. Although it isn’t as flexible as a digital SLR, for certain things it is still the best tool. While the SLR is the Swiss Army knife of photography, the Leica is more of a scalpel.

Cornerfix

For most users of the Leica M8, Cornerfix must rank as one of the most useful piece of software available, and certainly the best value since it comes free, thanks to the generosity of its writer, Sandy McGuffog.

The M8 designers found that the way to get sharper results, and to make a 1.3x size sensor usable with their wide-angle lenses was to use a thinner IR barrier filter over the sensor. When they released the camera they appear not to have realised the problems this would cause photographing in particular some black synthetic fibres.

The first job I used my M8 for included photographing a group of people demonstrating against the development of Queen’s Market in Upton Park (pictures and text are some way down the page on the link) outside a shareholders’ meeting in the City of London. Most were wearing black but these clothes were rendered nicely by the M8 in various shades of plum and brown.


More uncorrected Leica images from this event

Careful selection of much of the black clothing in the image, darkening and slightly de-saturating it to produce a more natural result took several hours of work for a small repro fee. I’d done a quite a few test pictures before I took the camera out on this small job, but hadn’t chosen the right subjects or lighting to show how bad the problem could be.

By contrast, here is a picture taken with the Leica under similar lighting at last Saturday’s Ashura procession in London, using the same 21mm Voigtlander lens, taken and processed as described below:

No problems with colour, although rather more shadow noise from the M8 than I would like. The pictures in My London Diary were taken on a Nikon D200, which is more flexible and gives better colour although slightly less resolution.

Leica’s solution was to partly to provide a couple of free IR cut filters for the front of the lens. Apart from these being in rather short supply and slow to arrive, these were an excellent solution for 50mm and longer lenses, but gave an additional problem with wide-angles. Rays from the corner of the image came through the filter obliquely, resulting in a longer path and an over-correction, resulting in cyan vignetting at image corners.

Modern Leica lenses have a set of dots on the rear of the mount which can be in six positions and allow infrared sensors on the camera body to identify the lens. Using this information, camera firmware can correct the vignetting. Overall it’s a very good system giving better image sharpness across the frame than other cameras, but it leaves a problem for those of us who want to use non-coded lenses.

Leica will add lens codes to some older lenses (at considerable cost) but my wide angle wasn’t one of them. In any case I mostly use the considerably cheaper and more compact Cosina Voigtlander lenses. Various people soon found do-it-yourself ways to code these lenses, and for a time my old Leitz 35mm was working well this way. Then the ‘Sharpie’ marks wore off, and after wasting several hours trying to get it working again I gave up.

Cornerfix removes the need for lens coding, correcting the vignetting in software by using a simply created lens profile. It can actually do a better job than firmware as you can create different profiles for different lens apertures, though I think this isn’t really necessary.

To create a profile, you need to photograph a neutral sheet – either grey or white – filling the frame and using even light, avoiding any exposure clipping. Loading this into Cornerfix enables you to create a profile in a few seconds.

As stated, you can create profiles for different apertures, and also for different lighting conditions, however so far I’ve not really found this necessary, perhaps because the light has generally been overcast! Perhaps if we get a summer?

You need to separate out your DNG files by which lens was used, and then these can be batch processed to produce files with _CF suffixed to the name. If you are someone who changes lenses, this could be a problem. File size is also a slight issue for archiving; the _CF files with lossless compression are considerably larger, and Adobe Lightroom seems to lose the compression, producing 40Mb files compared to the original .DNG from camera at around 10Mb.

So I’m having problems in fitting Cornerfix and the processed files into my workflow and archiving. Should I archive the originals or the processed files? How do I fit this in with using Lightroom?

But Cornerfix itself couldn’t be simpler:

Shoot your white or grey card, load the image, use the Lens Profile menu to create a lens profile and save it into your cornerfix directory or elsewhere.

Most of the image settings should be left at the default unless you have good reason to alter them, but you may like to enable lossless compression:

Once you have lens profile(s) for your lens or lenses, you simply need to load the profile, then load either a single image or a batch of images for processing and let the program get on with it.

Left is input file, right is output.

Total process time on my computer is around 8 seconds.

During batch processing it writes the output to the same directory, so you should normally have copied the files onto your hard disk first. The output files are also DNG files and can be processed in any raw processor as normal.

Using Your Existing Flash with a Nikon

One of the extra expenses in moving to recent Nikon cameras is that they are designed to with with flashes that use Nikon’s interesting i-TTL flash system. It’s an innovative system that uses flashes of light to communicate data, but one that I’ve not found entirely meets my need.

Apart from making older flash units like my perfectly serviceable Nikon SB-80DX apparently redundant, it also appears to make my older non-Nikon units unusable as well. Of course this isn’t really the case – just that they don’t work as i-TTL units.

Perhaps even more annoying, with i-TTL there seems to be a longer delay, at least with the Nikon D200, between the pre-flash – used for measurement – and the actual exposure flash. Long enough for many people to blink. As a work-around you can make one normal flash exposure and then lock the flash setting (perhaps using FV lock: CS f4) so that there is no pre-flash for further exposures. Its probably fine for some situations, but not for those where your subject is changing rapidly – most of what I do.


‘Freedom to Protest’? Police get heavy-handed at Downing St, Jan 12, 2008.
More pictures on My London Diary.
D200 with SB-80DX, 1/30 f8. EXIF indicates “
strobe return light not detected” but we know better. I used the settings below.
(C) Peter Marshall.

Important: You follow the advice given here entirely at your own risk. Some older flash units put high voltages on the hot shoe which may fry modern cameras. You should test older flashes before using them on any modern camera.

The only flash unit I’ve tried the method here with is a Nikon SB-80DX, but it should work with any unit that has an auto-exposure mode that allows you to select the aperture setting. The detailed instructions are for a Nikon D200, but there is no reason why a similar method shouldn’t work with other cameras.

  1. Fit flash to hot shoe.
  2. Turn on camera. Use the button to the left of the lens mount and set the flash to normal front curtain sync mode. (It won’t work in rear curtain sync, and you are better off never using red-eye reduction – correct it in software if you get it. The +/- flash exposure compensation setting using the flash button has no effect with this method, so don’t bother with it.)
  3. Set camera to A (Aperture Priority Auto) mode.
  4. Set the aperture and film speed you want to work at. In this example I’ll use f8 and ISO 400
  5. Turn on the flash, using up/down on the main control button to change the flashing ISO to 400, then press it to set.
  6. Set the flash mode on the flash to A.
  7. Set the aperture on the flash unit relative to that you set on the camera. As a starting point, set it one stop wider – f5.6 in this example. The important thing to remember is that setting a wider aperture gives less light and vice-versa. (For more precise control you could alter the ISO, but on the SB-80DX this is trickier to do. You may find it easier to start by setting the ISO on the flash to twice the figure on the camera.)
  8. On the camera, go to CS e2 and set the minimum shutter speed to use with flash. To use the flash as fill in daylight I usually set 1/60 or 1/125. In low light I generally want to use a slower speed (often 1/15 or 1/30) to get a little more exposure from the ambient light. For nice long blurs use a slower speed.
  9. Use CS e1 to set the flash sync to 1/250 (Auto FP) or 1/250.
  10. Everything should now work ok. But take a test shot and check the histogram.

Remember that setting exposure compensation will have no affect on the flash – but will alter the ambient contribution (if any) to exposure. To change the flash exposure you need to alter the aperture (or ISO) set on the flash unit.

If you find things start going wrong with your flash exposures, the first thing to check are that you haven’t changed either the Exposure Mode (A) or Flash Mode (front curtain sync.) It is surprisingly easy to press buttons without meaning to!

Peter Marshall 

Trouble-shooting

Just when I thought I had flash sorted out, it jumps up and hits me, just refusing to do what it ought to be doing and what I wanted.


Not quite what I intended, but still usable…

I set 1/15s and it gave me 0.80s, and a rather more abstract effect than I wanted. Both images (C) 200, Peter Marshall

In the heat of the moment (I was covering a demo outside the jail against the death of women in Holloway Prison) it isn’t easy to think clearly. I still don’t know why the method I’ve been using with great success should suddenly stop working, but I do know what should have been the first solution to try.

In the old days, cameras were simple, mechanical devices. Worked by levers, springs, a bit of clockwork. If something went wrong it was usually pretty obvious – you couldn’t wind the film on, or nothing happened when you pressed the button. The big change came not with the switch to digital imaging, but with the introduction of electronics into the actual working of cameras. At first we mainly had it in exposure metering, and it was analogue rather than digital and pretty benign, even extremely useful. And it also gave us far more reliable and accurate shutter speeds.

In many ways the Olympus OM4 represented a near-perfect mix of manual and electronic camera, although if the battery went you were left with only a single emergency shutter speed of 1/60s. But for those of us who took black and white seriously, it had a built-in metering system that was perfect for the precise placement of shadow detail.

As someone who taught photography to beginners, the increasing electronic complexity of cameras after that soon became a nightmare. Where previously you could pick up any camera a student came with and show them exactly how to use it, you now – unless they owned the same model as you – had to get them to bring in the manual and pore through a hundred pages of Japlish for even the basics.

So if, like me you are out there and things get pear-shaped, the first thing to remember is that you are not dealing with a camera, but with a computer. If you are using a flash as well, things are even worse, because you have two computers and a network to trouble-shoot.

Fortunately I know a bit about computers (and networking) as well. The great majority of computer faults can be cured simply by re-booting. A few cameras actually do have a button you can press (often only with the tip of a pen) to do this, but more commonly it involves taking out the battery, counting for 10 seconds or longer and then replacing it. (The camera I have to do this most often with isn’t a digital camera, but a Konica Hexar F, a great camera for street photography despite only having a fixed 35mm lens.)

If you are using a flash, then it makes sense to give that the same treatment. Mine also has setting using the buttons which will reset it to factory defaults, which, given its incomprehensible menus and non-intuitive setting methods is probably no bad place to start.

Once you’ve rebooted the two computers, its also worth thinking about the network. There is an old rule about trouble-shooting networks, around 99% reliable, and is expressed simply: “Cables, cables, cables!” If like me you usually plug your flash directly into a hot shoe, then the appropriate paraphrase would be “contacts, contacts, contacts!” Clean them and then make sure you push the unit firmly all the way into the shoe.

More pictures from that demo are of course on My London Diary.

Brazil Trip – Part 1

I’d be the first to recognise the contradiction in my flying over 6000 miles to Brasilia to talk about environmental problems, and I’m still recovering from the same journey back home. It was a relatively short and comfortable journey to Sao Paulo, but there was the mother of all queues snaking around the terminal to get through security and passport control, almost 2 worrying hours before I made the final call for boarding minutes before the timetabled flight time – because so many of us were held up the flight actually left around 45 minutes late.

Fourteen hours after finding my seat in the crowded economy section I was glad to be back at Heathrow, despite it being over 20 degrees cooler than when I left Brasilia the previous evening as I waited for the 255 bus in the chilly breeze at Terminal 4. I’d had a great – if occasionally fraught – time in Brasilia, and really wished I could have stayed much longer, but it felt good to be home.

I didn’t feel too bad about the carbon. It wan’t a pleasure trip, although there was much I enjoyed – especially the food and the company as well as the incredible architecture and some good exhibitions – I was there to share and spread a message about the inevitability of change and the need to do something about it, to work for a sustainable future. Also in my defence the four flights I made going there and back only bring the total over my life-time so far to ten.

Two of the 24 pictures in my show at the Espaco Cultural Renato Russo in Brasilia (if you are there it continues until 20 January) are of the protests about the yet further expansion planned for Heathrow, and it was encouraging on my return to read of our government’s announcement of a rethink on all policies based on carbon. Heathrow will be one of the key tests that will tell us whether they are really serious or just paying some post-Bali lipservice to the environment.

Brazilians lead Carbon protest in London
Brazilians lead the thousand mile ‘Cut the Carbon’ march on its last mile in London

I was particularly pleased to be able to show a picture of Brazilians leading the Christian Aid ‘Cut the Carbon‘ march earlier this year in London. Karla Osorio, Foto Arte 2007’s director, had sent my files to the best lab in Brazil, in Sao Paulo, and the A3 prints for the show were truly superb – just like the display on my wide-screen Eizo ColorEdge monitor – and roughly the same size. Eizo monitors aren’t cheap, but a good monitor and accurate profiling and calibration are the essential basis for getting prints right, and Christmas for me came early as I watched the parcel of prints being unwrapped for the work to be hung.

My visit and show was paid for by the British Embassy, and I was extremely pleased by the support of the Ambassador and the others there, including Kate Reynolds, responsible for promoting environmental issues, Matthew Rowlands who arranged travel and hotel and Luiz Hargreaves who simultaneously translated my lecture into Portuguese. I was heartened by the warm reception my work and talk received.

I started the lecture by looking at the photography of cities and urban landscape photography in particular, relating some of my and other pictures to the development of ideas about city planning (and Brasilia is of course the pinnacle and end-point of modernist planning by Lúcio Costa (1902-98) and architect Oscar Niemeyer, who celebrated his 100th birthday on the Saturday before I arrived, and is still at work.)

Most of the pictures I used were of London, although next time I’m asked to talk about the subject I think a few of the pictures I took in Brasilia will also be included. This was the opening image for my talk, one of the many from my web site ‘London’s Industrial Heritage‘, taken in the 1980s :

Tower Bridge from Bermondsey
Tower Bridge from Bermondsey Wall West, 1988

I didn’t say much about this picture in the talk, but it does help to make a point about the lack of good planning controls over the more sensitive parts of English cities. It’s still easy to find the spot from which I took this picture, obviously close to the Thames, and part of the Thames Path. Stand here now and what you will see rather than Tower Bridge are some undistinguished flats – and the same is true along much of the river where we have ponderous blocks designed to maximise use of space and developers’ profits. What we should have is not legislation that prevents development, but that – in such sites of high landscape and heritage value such as the Thames riverside – insists on high standards of work, probably through public architectural competition, as well as of course, public riverside access.

I’ll write more about my talk, which continued with my own project on Thames Gateway (there are a few pictures on line on the Urban Landscape web site) and some comments about the pictures of environmental protests and of the Manor Gardens allotments that were in the show, in a later piece, as well as more about the Foto Arte Festival. But next I’ll put some of the pictures I took in Brasilia on line.

Nikon D3 or D300?

Yesterday I went along to the Nikon show at Olympia to play with their two new cameras, the D3 and D300. Both seem decent models, though I’m not sure if I will buy either. After all the D200 is still working pretty well. I only bothered to go there because I wanted to go to a London Bloggers meet in the evening, so it was sort of on the way.

There are some nice things about the D300, in particular the even better screen on the back, and the few images I took at high ISO perhaps seemed a little more usable than with the D200. I’d certainly be a little happier with shooting at ISO1600, though I’m not clear whether the difference is really anything more than more aggressive noise reduction in the D300. The test shots I’ve seen – unlike mine, taken under carefully controlled conditions – on Imaging Resource do seem to show less noise on the D300 image at 1600 than at 800, together with reduced noise and sharpness, suggesting a sharp ramp in noise reduction.

However I didn’t shoot on RAW, but only on fine jpeg, and also hadn’t made all the tweaks I would certainly want to do when using the camera. Detailed reviews may appear shortly, at the moment all we really have to go on is the published specs and some fairly ill-informed comment – including that on at least one site where the author has been using a camera for a few days.

Moving from a D200 to a D300 would be relatively simple, with many of the controls in similar places, and the camera has the same feeling of having controls in the right place. As well as the larger screen, I’d certainly welcome the improved focus system, which is the same as in the D3. Possibly the ability to record 14 bits instead of 12 may also help in high contrast situations.

I took a few frames on the D3 too, with the ISO set to 5000, again as jpegs (I wasn’t sure if my raw processing would work with the RAW files from the cameras.) Lousy subject matter, but – at least where I got the focus correct – technically very usable images. I really needed rather longer to get used to the camera, and the menus seemed rather confusing compared to the D200, though I’m sure I’d soon cope.

So would I like one? I’m not sure. It’s a great camera but I think too large and heavy for me. I’m often using a camera more or less all the time for perhaps 5 or 6 hours at a stretch, and I’m not sure my shoulders or right wrist would cope with the extra heft. The Nikon D200 and D300 both weight around 830g while the D3 is 1240g, half as much again. Of course the difference in practice is a little less obvious, as I’d normally have perhaps 600g of lens fitted to any of the bodies.

I’m not going to rush out and buy either – particularly as the D3 in particular is likely to be in very short supply for a while. Despite the cost and size issues, it’s still the one I’m more inclined to seriously consider. And it would cost. As well as D3 itself costing well over twice as much as the D300, I’d also need a new lens to replace the 18-200 which only covers the DX format, as well as possibly wanting to replace my current Sigma 12-24 (which does cover full frame) with the new Nikon 14-24 f2.8….

It might be easier to just go back to using film!

Paris Strike – Manif, Walks, Party

My diary of pictures from Paris is now on line, on ‘My London Diary‘ and includes pictures from several walks around Paris – thanks to the transport strike there I walked everywhere.

I also got to photograph a ‘manif‘ by the transport workers – where I met a and photographed an angel, as well as some of the union leaders and others there.


© L’Ange Blanc – see http://angeledenia.canalblog.com/
Image used with permission.

There are also some pictures taken at an excellent party; the party was good, so I’ve no idea who took some of the pictures, though I do appear in them. I think we all had a good time.

To protect the guilty I deliberately haven’t included any names in the captions, though you might recognise some of us. The same is true of the photographers I’ve shown at Paris Photo.

Most of the pictures from Paris were taken on the Leica M8, a camera about which I still have mixed feelings. Working with it is almost like using a film Leica, but the shutter noise can be obtrusive. And there are still problems if you haven’t got the latest Leica lenses with 6 bit coding.

This would matter less if Leica actually made suitable lenses for use with this 1.3x camera, preferably by bringing out some relatively cheap 24mm, 21mm and wider optics (They have produced a 28mm f2.8, but I’d like wider.)

Voigtlander have the lenses (and I own several) but they don’t have the Leica coding. You can add this manually, but this doesn’t work with my 21mm as it has the incorrect lens adapter. The coding allows the camera to compensate for the lens vignetting – which when using the IR cut filter needed for decent colour gives your pictures cyan corners.

Mostly I worked with a Leica 35mm f1.4 (which Leica says won’t work with the camera) fitted with an IR cut filter and some appropriate black marks for 6 bit coding made with a genuine ‘Sharpie’ pen. This is fine, but basically a standard lens (1.3 x 35 = 45.5)

With the Voigtlander 21mm f4, every picture has to be run through software to remove the colour vignetting. It’s an extra chore and using PTCorrect as a Photoshop plugin doesn’t always do the job quite perfectly. I’m hoping I can do it better with CornerFix once I get to grips with it.

Leica could add a menu item as a firmware upgrade that allowed users to get suitable built-in support for non-coded lenses. It would make many users a lot happier with the camera.

Lens Care

So often I come across something on the web and think who are these people write such nonsense. So I wasn’t surprised to find a piece on lens cleaning, written by a person described as a “successful author” which didn’t really offer a great deal of sensible advice for the practical photographer. But it did make me want to write more about the subject. Below you’ll find sections on Lens Handling, Lens Changing and Cleaning Lenses, all vital parts of the photographic process for the practical photographer.

When shooting with digital, I’ve had – or at least noticed – more problems with dirty lenses. Perhaps it is the shorter focal lengths of DX format cameras that make the defects more visible, or just the fact that now I view every image at around 15×10 inches on a high quality computer monitor makes minor defects jump out.

Digital has in some respects led to us demanding more, although I think this is only part of a changing attitude. Looking at an original Edward Weston image in a show a while ago, I was shocked by the number blemishes in this otherwise superb contact print. Even when printing from film, I would have taken a spotting-brush and dye to the more prominent of the largely white dust spots. Photoshop and other software of course makes this require considerably less skill – and in particular allows us to correct any mistakes we make.

Spots on digital images come from dirt on the sensor rather than the lens, but muck there can lead to unsharp areas, diffuse darker regions and excessive diffusion from highlights – more serious problems that can be hard or impossible to correct, as well as lower overall contrast.

We need to get into good habits of lens handling – particularly when using interchangeable lenses – to avoid getting lenses dirty, as well as learning good methods and practices to clean them once they are dirty.

Lens Handling

  • always keep rear lens caps on lenses when not on camera;
  • always use a UV or similar filter on the front of lenses where this is possible;
  • for lenses with protruding front elements, use a suitable lens cap when not in use;
  • inspect front and rear elements of all lenses for dirt before every photographic session;
  • practice lens-changing and adopt a simple, effective procedure (see below);
  • always check and clean immediately if necessary when you think you may have put a finger on a glass surface.
  • if possible, use a lens hood – its most important job is keeping fingers etc away from the glass;

Lens Changing

A sensible and consistent lens-changing procedure can save time and reduce the amount of dust reaching the sensor as well as making dirt and fingermarks on lens surfaces less likely. It helps if all lenses, cameras and rear lens caps have clear markings for lining them up – and if necessary it can be worth adding these – or making them clearer – with a paintbrush and a small dab of paint (or nail varnish or correcting fluid etc.)

Exactly how you do this will depend on your camera and working conditions. I use cameras that allow easy one-handed removal and insertion of lenses when the camera is on a strap around my neck (Nikon and Leica.) Here is how I do it on the Nikon:

  1. Put front lens cap on camera lens (most lenses I don’t use one.)
  2. Switch camera off (Nikon says so, but to be honest I don’t usually bother)
  3. Take new lens from bag with left hand, align its marker correctly to fit the camera, remove rear lens cap with right hand and hold it in right palm with little third and little finger.
  4. Grab the lens on camera with my right hand. The second finger can press the lens release button while you hold the lens to remove it. With practice you don’t drop the rear lens cap!
  5. Move the new lens in your left had into position, insert and twist to lock.
  6. Use your left hand to put the rear cap on the lens you’ve just removed; if you use a front cap, replace that, and put the lens away.
  7. Remove any lens cap from the lens on camera, store suitably (those I have live in the compartment in the bag for the lens when not on them.)
  8. Inspect front lens (or filter) surface for dirt, clean if needed. If you switched the camera off, you now need to switch it on.

It seems complex when you write it down, but is really fast and simple to do with a little practice. If you are not using your camera on a neck-strap, you really need to find a suitable clean surface on which to rest camera and lenses during changes – if I’m carrying my bag, the open bag will do.

Of course the fastest and cleanest way to change lenses is not to change lenses, but to have each on a separate body. I often worked this way with film and a couple of SLR or rangefinder bodies. But the digital SLR bodies I’ve used are a bit larger and I find it too encumbering to have a pair in use.

Lens Cleaning

Rule 1 is don’t – unless you have to. But be paranoid about checking they are clean.

Lens cleaning should always be a two-stage process:

Stage 1: remove any loose dirt or grit;
Suitable tools include a rubber bulb blower and brushes.
If you use brushes you must ensure they are kept clean and particularly they are free from grease – some retract into a plastic cover, others can be kept in a resealable plastic bag or box. Brush lightly holding the lens so dust will fall down away from it.

If you have nothing else with you, a good strong blow is better than nothing; you will get some spit on the lens, but this will (and must) be removed in the next stage.

This stage is vital, as any grit left in place can damage the lens surface in the next step.

Stage 2: remove grease and other adhering dirt;
Camera stores sell microfibre lens cleaning cloths, together with various liquid lens cleaners.
You can also use a ‘Lens Pen‘ which incorporates a brush for stage 1 cleaning and a chamois pad with graphite for stage 2.

Keep cleaning cloths in a resealable plastic bag or box. Normally you should put one or two drops of cleaner on to a part of the cloth, then wipe the lens gently. Then remove cleaner and dirt with a dry part of the cloth. Never put more than a single drop of cleaner on a lens – they can run down and get inside lenses, possibly dissolving glues and greases, damaging the lenses and also putting dirty on interior surfaces.

Lens Pens are effective and very convenient when on the move, but need replacing perhaps every six months or more frequently if you use them much. Normally you need to breath on the lens before using the pen. (Be warned, there are imitations of the original Lens Pen some of which may be ineffectual or even harmful.)

If you have nothing else with you, any clean soft cloth is better than nothing. Many of my shirts usually fall into this category!

Other Cleaning Methods

Rain Drops are not something I recommend for cleaning lenses, but another hazard on your lenses when taking pictures. I carry a large microfibre cloth, sold cheaply for general cleaning in a ‘pound store’, about 12″ square, for gently mopping the lens. Again it has a plastic bag to keep it clean when not in use.

Or you can be like Martin Parr in ‘Dirty Weather‘ and just enjoy the distorting effect of the drops. Unfortunately it’s less likely that any clients will love it. Unless you are Martin Parr.

Spring Clean: Although not really suitable for routine cleaning, products such as Opti-Clean are remarkable for restoring lenses to an ‘as-new’ state. This is a liquid that you paint onto the lens, letting it run down and cover the surface. It rapidly dries to form a polymer coat that can then be peeled off, taking the dirt with it.

Opti-clean must never be used on plastic lenses, and you also should avoid it coming into contact with the plastic parts of some lens bodies.

Nikon D3 – Three month trial report

I can’t really justify getting a Nikon D3 – I’m just not making enough out of photography for my accountant (if I could afford one) to think it a good idea. But I am sorely tempted, in particular by its apparently superb performance at high ISO.

I’m not really an equipment freak – despite the fact that I have around 20 cameras of different shapes, types and sizes. Each of them was bought because it enabled me to do something a little differently – and many of them were bought cheaply second-hand. Quite a few have been used close to extinction – and would fetch nothing were I to bother to sell.

But I actually don’t like to get rid of things. Even though its several years since I used my Minolta CLE or Mamiya 7, I still feel that one day I might put a roll of film into one of them and go out on the streets again. Though it’s perhaps not really likely.

One guy who has had a D3 for 3 months is Dave Black, a great sports photographer from the USA who Nikon lent one, asking him to use it to “photograph sports under difficult low light situations in gymnasiums, ice halls and outdoor venues.” You can see some of the results and read his opinions on the camera for sports photography in this month’s ‘Workshop at the Ranch‘ feature on his web site.

Black gets really excited about the possibilities offered by this camera. He says the performance at ISO 6400 is better than the D2X at ISO 400 – more or less the same in the shadow areas, but higher quality in the lighter tones. Even at Hi1 (ISO 12,800) the quality is good enough for newspapers and magazines, although of course at lower ISOs it is better – simply stunning. He discusses some of the ways it can change the way that he works, including making it possible for him to use fast shutter speeds and a full range of apertures in shutter priority mode for events where parts of the playing area are in deep shadow, as well as being able to use slower lenses and tele-converters.

In another area of his site, this month’s ‘On the Road‘ looks at the D3 and some fashion and landscape work, including some lengthy night exposures made possible by the lack of noise.

Black sees the D3 as a quantum leap in photographic quality, a “a land mark development in photographic history” as important as “the motor drive, auto focus and even the digital revolution we enjoy today.” It’s easy to feel that he is letting himself get a little carried away, but difficult given his results not to go at least a part of the road with him.

At the moment, I’m generally happy with the results from the D200, certainly at moderate ISO, but although ISO800 is generally usable, and even ISO1250 will do with good noise reduction software, it is certainly best to stick to lowish sensitivity. Combined with a general lack of fast wide-angles, this is sometimes limiting (the 20mm f2.8 isn’t bad, even at full aperture, but isn’t particularly fast – or very wide on a DX format camera.)

What really puts me off the D3 – and why my name isn’t down on the waiting list yet – is not the cost, but the weight and bulk compared to the D200 (or D300.) I also have a feeling that a significant part of the improved image quality of the D3 isn’t actually down to the larger sensor, but to better sensor design and better processing. If I can hang on a couple of years, the D400 may be almost as good, two thirds or less of the weight and one third of the price. But of course the one confident prediction about any digital camera is that however ground-breaking it may seem now, in a few years time it will appear old-hat.