If You Leave Showcase

I'm a big fan of the If You Leave page. They curate photos from around the world that consistently have a wonderful balance of artistry, technique, and experimentalism. The other day I submitted this bat photo to their flickr pool.

Pentax Asahi Takumar 135mm f/3.5 lens at f/3.5. Shutter: 1/250. ISO: 2500.

I had taken many bat photos over a period of two weeks, but this was my favorite, for both the clarity of the wing's transparency and how the face is in a perfect profile creating a silhouette that (to me anyway) is suggestive of determined movement. I was hoping it might make If You Leave's various social media feeds, but when it did I saw that it's one of 200 photos that will be reviewed for two November exhibitions - one in London, one in Berlin. Only 20 photos will make the cut, but it's fun to be in the running!

The idea for the photo came about one night after I shot one of the free summer punk shows in DC's Fort Reno Park. I was walking through a quiet corner of the park after dusk, and I noticed bats overhead. I started to come back to that spot almost nightly, getting a lot of mosquito bites and figuring out the best ways to catch the shot I wanted.

Yet again, I found I got the best results with my Asahi Takumar 135mm. It's not very fast (f/3.5) for low light, but with manual focus I didn't want too wide open of an aperture anyway. I used zone focusing of around 10 to 16 meters. I'd try to focus a bit while shooting, but it was quite a challenge - the Asahi focus ring has a very long throw, and bats are such fast, zigzaggy flyers. I found that 1/250, maybe 1/200, was the slowest I could go with shutter speeds.

One thing about shooting as the light fades - our eyes are so good at adjusting to dusk that the light might look the same to you as it did at sunset 30 minutes or an hour earlier, but you've had to make constant adjustments to your camera's settings. The aperture of pupil has opened all the way up to about f/2.1 from anywhere as high as about f/8.3. The next time you've been out in low light for a while, check out how much bokeh your naked eye can have. It can be tricky to actually see well, but if you hold your hand in front of your eyes while focusing on something a few feet away, you'll see in the corner of your eye that your hand is in a nice f/2.1 blur.

One night while going after these shots, I stayed long after the usable levels of light had faded. I was enjoying the full moon and the peace of the empty park when I noticed one of these deer walking not twenty feet away from me. It had no idea I was there. I was amazed at how silently it moved over the grass, and also nervous it would notice me and come after me with those antlers. But it moved on, and after he and his friends met by some streetlights I got this shot.

This one was with the Helios 40-2 85mm lens. Shutter: 1/10. ISO: 3200. I believe I had the aperture somewhere around f/2.5. 

Three Silhouettes

Turner Classic Movies has, to my joy, been running film noir classics all summer. In keeping with their summer of darkness, here are 3 black and white silhouette shots.

The first was selected for Explore on Flickr. That mostly just means bragging rights, but the image got over 6,000 views so that's neat I guess. I was walking up Wisconsin Avenue in Washington DC, and I noticed a guy walking into the light of the alley I was passing. I was shooting the Zeiss Distagon 35mm wide open at f/1.4.

Zeiss Distagon ZA 35mm f/1.4. Shutter: 1/60th, f/1.4, ISO: 400.

The next is with the Helios 44-2. Not the type of shot that lens is best for, but I was happy that the bird waited there long enough for me to move until I was catching it against one of the brighter bits of cloud.

Helios 44-2. Shutter: 1/1000, f/11, ISO: 100. Extra tweaking in editing to turn the gloomy up!

Next is Hemlines playing against the sunset at Fort Reno here in DC. This one goes back to the Asahi Takumar 135mm f/3.5. I talked about that lens in my last post, but I have to say again what a bargain it is to get this kind of performance from a lens that can bet found well under $200. The sharpness is so crisp that it picked up individual hairs here very clearly from 15+ feet away.

Asahi Takumar 135mm f/3.5. Shutter: 1/2500, f/7.1 (or something close to that), ISO: 250.

The American Prospect

The desktop version of this terrific article from The American Prospect features my concert photography. Amanda Teuscher's piece is fantastic -- I especially like the wariness of nostalgia, and how DC's scene instead centers on dealing with current issues and looking forward.

Screen capture from prospect.org. Pictured: DC's own Coup Sauvage and the Snips.

Screen capture from prospect.org. Pictured: DC's own Coup Sauvage and the Snips.

Many of the photos they chose to use happened to have been taken with my vintage Asahi Takumar 135mm f/3.5 lens. Copies in good condition will go on eBay for under $150. Mine is an M42 mount. It's quite compact for a 135mm, and the image quality can be very nice. Check out the sharpness on this shot of Katie Alice Greer of the (totally awesome) DC-based band Priests.

I love the stray hairs against the black background, as well as the black fur against the white background. Shutter: 1/40, f/3.5, ISO: 2000. I usually won't push the ISO anywhere near that high, but the venue was rather dark this band's movements are so frenetic that faster shutter speeds were needed!

I was happy with the inclusion of this Ian Svenoius shot, because it has a little bit of wordplay. As the article notes, the words "POPULAR LIBRARY" were behind the band. I wonder if readers will notice that I framed the shot so it says, "POPULAR LIE"?

I feel like Popular Lie would be a solid name for a punk band. This shot was also with the Asahi Takumar 135mm f/3.5 lens. Shutter: 1/60, f/3.5 (or close to that), ISO: 800.

Warming Up to the Zeiss Distagon 35mm f/1.4

I'm starting to get a feel for this lens. It can be tough shooting well with a 35mm vs. a 50+mm, as Henri Cartier-Bresson explained beautifully...

"The 35 is splendid when needed, but extremely difficult to use if you want precision in composition. There are too many elements, and something is always in the wrong place. It is a beautiful lens at times when needed by what you see. But very often it is used by people who want to shout. Because you have a distortion, you have somebody in the foreground and it gives an effect. But I don’t like effects. There is something aggressive, and I don’t like that. Because when you shout, it is usually because you are short of arguments."

Here's a shot where I had good luck. The colors were quite nicely handled by the lens -- the reason the sky is so pink is that 4th of July fireworks were going off over the National Mall, a couple miles from my location of Dupont Circle in DC.

The Distagon was at f/3.2 here.

The Helios 40-2 85mm f/1.5 as a Concert Lens

The Helios 40-2 85mm (actually 85.18 mm) portrait lens is very much a cult item. A new one from Russia runs for about $450 and vintage Soviet copies will often run over $300. Photographers have even started taking them off of the Soviet night-vision devices that utilized stripped-down versions of them, even though those are locked into wide-open f/1.5 aperture.

Everyone who isn't trying to sell you one is in agreement that there's nothing great about its image quality. It's also not very convenient to shoot with. It's quite large for an 85mm, and it's absurdly heavy at over two pounds -- almost twice the weight of the Sony camera body I hooked it up to.

So why is there a market for it? Because of its very unique, weird, swirly bokeh. Click here (all links open in a new window) for a great example from the lens's flickr pool. If you've got just the right background - usually branches and leaves with abundant light - then the out-of-focus light will melt and funnel around the center. Another typical example. Even when you don't have the perfect background for that effect, you'll still get unique results. Not usually pleasing in my opinion, but unique.

I gave the lens a try for concert photography. I've never seen anyone else use it for that, but I figured it's not an all-bad fit. The fast f/1.5 is good for a concert's low light, and I like using portrait lenses for concerts. You usually won't be able to fit the whole band in your shot, but a lot of concert photography is ultimately one or two-subject portrait photography anyway.

I took it to a small-venue show and decided to shoot exclusively at f/1.5. Obviously focusing at that setting was a challenge, especially since the focus ring has a fairly long throw. And even when you do get it in focus, it's soft at f/1.5...

Upcoming Washington, DC band Nox. The focus was't quite perfect on the eye and face, but the lens's softness worked well with the backlighting here, giving a bit of a dreamy halo. Shutter: 1/60, f/1.5, ISO: 1600.

Puff Pieces. This was as good as I was able to get from the lens in terms of image quality performance, and I thought it was pretty decent for a wide-open shot. Nice color and respectable sharpness - other than the lens flare circle below the spotlight and a few hints of lens's bokeh style, it looks like a shot you'd expect from pricier modern Canon or Nikon glass. Shutter: 1/60, f/1.5, ISO 500.

Chain and the Gang, one of my favorite bands to see live. Nice little lens flare center right, and as well as some interesting flaring far left. Shutter: 1/50, f/1.5, ISO: 1000.


Ian Svenonius is a tremendous frontman. Shutter: 1/50, f/1.5, ISO: 1000.

Favorite shot of the night. I like the subtlety of the light coming off the wall behind them. And all three of them look so sincerely happy and unaffected, like they forgot they were onstage in front of an audience. Shutter 1/50, f/1.5, ISO: 1000.