complete wedding proofs part 2: M8 & D3

[Jamie Roberts]

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Second part of these proofs--straight out of C1--is now available for people to have a look at:

 

James Roberts Photography--proofs

 

Looks like I used the M8 less than usual for the formals (we were really really pushed for time and got those all done in under an hour). It's usually my go-to camera. Instead, I've used the 85 Nikkor and the D3 for many of the shots (but not the wides, of course).

 

If you're interested in how the Noctilux does, starting around number 807 there are about 40 Noctilux shots at f1 and 1.2. Otherwise, the M8 is mostly the 24 Elmarit and 35 Lux.

 

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[stuny]

Jamie -

 

Lovely, as with the first set.

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[Jamie Roberts]

Stuart, thanks so much; I'm glad you enjoyed them!

[wattsy]

Nice stuff but I do find it easy to identify the Leica images from the rest - the Leica ones generally have the main subject's head or eyes bang in the centre of the frame.

[vdb]

#1 is exceptional.

[Jamie Roberts]

Nice stuff but I do find it easy to identify the Leica images from the rest - the Leica ones generally have the main subject's head or eyes bang in the centre of the frame.

 

Ian, that's interesting. I'll have to work on that a bit. It's true with the Nocti and moving subjects I tend to shoot when I achieve focus

 

With the 24, though, I try to vary the composition and work the rule of thirds a lot... so it's something I'll have to do more Thanks!

[Jamie Roberts]

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#1 is exceptional.

 

Thank-you very much Virgil!

[jackart]

this b/w car shot is really lovely

 

Jaak

[Jamie Roberts]

Thanks Jaak! That's the 24 Elmarit for you

[wattsy]

Ian, that's interesting. I'll have to work on that a bit. It's true with the Nocti and moving subjects I tend to shoot when I achieve focus

 

With the 24, though, I try to vary the composition and work the rule of thirds a lot... so it's something I'll have to do more Thanks!

 

I have exactly the same 'problem' when shooting the fast lenses wide-open. I think it's just a 'rangefinder' habit that is hard to shake. The combination of wafer thin DOF and a single focus point makes recomposing a risky proposition. Also, as you say, when you have a moving subject it makes sense to take the shot as soon as you have achieved focus. Interestingly, if you have a look at the portraits shot by a compositional master like HCB, many of those also show the same tendency towards keeping the main subject at or near the centre of the composition.

[Jamie Roberts]

I have exactly the same 'problem' when shooting the fast lenses wide-open. I think it's just a 'rangefinder' habit that is hard to shake. The combination of wafer thin DOF and a single focus point makes recomposing a risky proposition. Also, as you say, when you have a moving subject it makes sense to take the shot as soon as you have achieved focus. Interestingly, if you have a look at the portraits shot by a compositional master like HCB, many of those also show the same tendency towards keeping the main subject at or near the centre of the composition.

 

Ian--didn't mean to miss your comment. It's certainly nice to share anything with HCB, even the mistakes or limitations

 

I am going to try to get off-center a bit. If that means stopping down some more, then that's what I'll do next

[jplomley]

I tend to use the extreme edge of the RF patch, and then lean left or right (depending on the composition) trying to maintain parallelism as much as possible. I'll then focus bracket a bit. I can usually nail it with my 28 Cron @ f/2 ~ 70% of the time. Those I miss are classified as "artistic license"

[Jamie Roberts]

I tend to use the extreme edge of the RF patch, and then lean left or right (depending on the composition) trying to maintain parallelism as much as possible. I'll then focus bracket a bit. I can usually nail it with my 28 Cron @ f/2 ~ 70% of the time. Those I miss are classified as "artistic license"

 

That's good advice Jeff. Except with the Nocti, I tend to recompose and bracket, even wide open. But I'll try your method next!