That’s a detail from a car hood, if I remember correctly. I’ve pretty violently pushed contrast and color, and the result is much better than reality was 🙂
The E-P5 in silver is a remarkably beautiful camera and the 75/1.8 in silver is a remarkably beautiful lens. Perfect match 🙂
The lens is already a little bit on the heahy side for a PEN. It’s still quite balanced, but anything longer and heavier would feel awkward.
What’s not to like, I asked yesterday. There’s only one Fn-button. Thus I have one programmable button less than on the OM-D E-M1. It does not have the on/off switch on the left side, like on the E-M1 and the PEN-F. At first I found it a bad idea (and it likely is), but once you’re used to it, consistency is more important than ultimate usability.
Finally the firmware didn’t get one convenient update that the E-M1 got: the stickiness of menu position. On the E-M1 the camera remembers where I was when I last changed something in the deep menu. On the E-P5 it doesn’t. I can live with both ways perfectly, but it’s still irritating when I switch cameras. And of course it’s unnecessary as well. Hmm … I probably should switch it off on the E-M1, but it was a feature I’ve always wished for, a feature that made me happy when I got it.
OK, that’s it. During the last three months I’ve almost exclusively used the E-P5 in Vienna, almost always with primes, and the E-M1 in Carinthia and in Provence, almost always with the PRO zooms.
Here’s another image I wouldn’t want to print. I’ve already taken back the reds, but still the car is almost out of gamut.
By the way, for ten years I’ve driven a succession of three of those Citroën 2CV. Fabulous car. I wouldn’t want to have an accident in it, it’s slow on the highway, in winter it takes two hours of driving until you stop feeling cold, but I love the canvas top, the quirky way you shift gears, the beautiful headlights and the way you open the side windows by folding the lower part up. It’s pure nostalgia.
At least that’s what this image reminds me of. But then, I don’t like flags and I don’t like nations.
Whenever things get tight, people tend to flock together in groups, tend to accentuate the differences and not the common, tend to seek salvation in separation. It’s easy to see why.
Keeping the unknown at bay and sticking to the known is a way of denying change. It’s only that change does not come through refugees. Refugees come through change.
Their world changes, and it is through our actions or our refusal to act. Sure, we can keep them out and just pretend that there is no problem. The problem is only that it does not work.
By refusing to change we must change ourselves. By setting up borders we lose the freedom to cross them. By waging war in other countries we make ourselves the target of revenge. By following our fears we make them reality.
Bombs in Paris, bombs in Brussels, and the only thing we’re capable of is to ramp up surveillance and further limit freedom. It didn’t help the French and it didn’t help the Belgians, did it?
Do you remember Terry Gilliam’s prophetic movie “Brazil“? Well, it positively begins to feel like that.
This is another small trophy that I took away from Mauerbach. Sometimes I’m happy that I don’t have to print all those images. If there is anything like “Color Gamut Hell”, this must be close to it. Believe me, I know, I once printed the picture in this post, a picture now hanging on a wall in my apartment in Vienna 🙂
Two images of red trees, taken about a week apart, one on a sunny Carinthian day, the other on a foggy morning in Vienna.
The foggy image is more than slightly exaggerated. I remember it that way though, and only the image out of the camera was almost devoid of color.
Well, the eye is a very sensitive organ. If contrasts are low, if colors are pale, our eyes and minds just boost sensitiviy. Evolution really has made us able to detect patterns, even when absolute contrast or color differences are low. It was a matter of survival.
In comparison, sensors act just the same, regardless of what they record. In order to boost a photo sensor to the next of its 255 shades, always the same increase in the number of photons is necessary. Therefore a foggy image always looks dull. At least before you process it 🙂
And yes, I know that was unscientific and plain wrong in a number of ways 😀
You may remember that in “3366 – A Touch of Red” I’ve promised you one more image of the decoration around the entrance to an underground garage. Well, this is what happens when you get closer with a long lens 🙂