At loose (video) ends...

Bobbi and I tend to watch something over dinner and, for most of the past couple years at least, it's been binge-watching various shows or miniseries (miniserieses?). Anyway, we're done with The Queen's Gambit and, unfortunately, we're caught up with the current season of The Expanse, which means it will be trickling out on Wednesdays for us now.

I'm currently nosing through shows with 30-min or 1-hr episodes and at least two or three seasons in the can, looking for the next bit of dinner theater while we wait for the next seasons of Stranger Things, The Boys, and The Umbrella Academy to drop*.

*For whatever reason, the old Roku on the living room televisor will not find Disney+, so that's only viewable on the TV in Bobbi's room or the computer monitor in my office. Sure, my desktop monitor is only a 25" screen, but I was in high school before the living room TV was that big. It's true, kids! Ask your parents. The living room TV can do Prime Video and Netflix.

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As the ship continues to spring new leaks...

...the new leaks keep getting funnier.

You know, if I'm counting on you to protect me from assassins, not only can you use my loo, you can come hang out with me while I'm on the throne, too.

Don't worry, there's a magazine rack if the conversation gets dull. https://t.co/nKbfscMWWH

— Tamara K. (@TamSlick) January 15, 2021

New Year's Resolution

From a "year in review, year in preview" piece at Luminous Landscape came this interesting digression on the rumored imminent ultra high resolution sensors: 

"It is difficult to tell a really good 24-26 MP print from a 45-60 MP print at 16×24” – it’s possible, but under close inspection – even an experienced observer would have a hard time on the wall. A 24×36” print from a really good 24-26 MP sensor and lens looks good on the wall, even in a gallery – but put it next to a 45-60 MP version and the difference is obvious from close up. I’ll happily print 40×60” from a Z7 or an A7r IV, which I won’t from a good 24-26 MP sensor – like a 24×36” from 24-26 MP, the print works very well, but if you put your nose right up to it, you might wish you’d used a GFX 100 or stitched. A 90-100 MP sensor will really show its stuff at a print size of 40×60” or above – the native print size of the GFX 100 sensor is 29×39” at 300 dpi, and a beautiful print that big can be made from a 200 dpi or even 150 dpi file with careful resizing. How much of your work ends up that size? Do you have room for a printer the size of a piano? If you are thinking about digital display, what 12K display device are you planning on using? Even at 8K, it has no advantage over a 45-60 MP camera, since both will outresolve the display. 

What lenses do you own that will resolve 100 MP? What will even look different between 60 MP and 100 MP? An Otus, sure… Some of the best Sigma Art lenses, like the newish 85mm f1.4, are likely to. A few other excellent lenses – think the best of the Sony G-Master, Canon L and Nikon S lines, mostly primes. Any exotic long telephoto prime from Canon, Nikon, Sony or Sigma. If any zoom that good exists at all, there are VERY few of them. The closest possibility I’ve handled is Nikon’s 24-70mm f2.8 for the Z bodies – it resolves right up to the limits of the Z7 and seems to be begging for more. I’m pretty sure it has at least something more to give on a higher-resolution sensor. I haven’t used the latest Canon or Sony zooms at the top of their lines, nor have I used either of the $10,000 telephoto zooms – but they all seem to be good candidates as well. That’s about it – a bunch of $1000+ primes, mostly $2000+ other than the Sigma Art lenses, and a very tiny list of $2000+ zooms. 

How good is your technique for 100 MP? Even the best lens is only that good at optimum aperture – diffraction is going to set in quickly with pixels that small. Handholding will require faster shutter speeds than you’re used to, even with image stabilization, and any subject motion at all is going to show up. Depth of field? What depth of field? The 45-60 MP cameras are already difficult to focus correctly, since any tiny focus error eliminates their resolution advantage. If you’re doing huge prints of architecture or motionless landscape, using a Series 3 or larger tripod (think 6-7 lbs of tripod and head, even in carbon fiber) or have enough light for very high shutter speeds (any noise at all will kill the resolution advantage, so a very high resolution camera will be best at ISO 64-200, maybe ISO 400 at most to see the difference), you might see a gain. " 

Speaking as someone who sold her 5D Mark II to partly fund a mega-super-high-res 5DS and then wound up buying another used 5D Mark II to supplement it, all I can say is...ouch. 

Sure, the 5D Mark II is about a dozen years old now and sports a 21MP sensor, less than half the resolution of the 5DS, but it'll turn out a photo that can be splashed across a full two-page spread eleven inches high and eighteen inches wide, with plenty of room for the art director to crop...

Shot with a Canon EOS 5D Mark II and an old EF 28-70mm f/2.8L lens

The 50MP sensor on the 5DS will let you know a lot of things: If your lens sucks, if you missed focus, if you should have used a stabilized lens or a faster shutter speed or more light. Cramming that many photosites on a full-frame sensor is noisy at higher ISOs, at least in Canon's 2015 effort.

From a gee-whiz point of view, I get the attraction of a squillion megapickle camera. But from a gearhead point of view, I have to acknowledge that its downsides currently outweigh its upsides for the kind of shooting I do.

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Yesterday...

I needed to get that film dropped off at Roberts, and I also needed to get out of the house and get some exercise. It was an unseasonably balmy forty-something degrees, so I slung my Leica R4 around my neck, grabbed the pre-packed bag with my Nikon D700, and headed out.

I fed a few quarters to the meter on North Street by the Scottish Rite Cathedral and started walking south on Illinois, heading generally toward the state capitol building.

Foot & vehicle traffic was light. Some store windows, like on the CVS and the Thai restaurant on Market by the Capitol, were still boarded up from the summer's events. I walked over to the east steps of the Capitol, shot some film, and headed back east up Market toward the Circle. On the Circle, workmen were busy boarding up windows. It was about this point that I'd used up the roll of Ilford XP2 in the Leica, so I bagged it and pulled out the Nikon for the remainder of my stroll.

The Soldiers' and Sailors' Monument was right there where I'd left it...

The bottom photo is, I believe, why bears generally stay away from Indiana.

From the Circle, I strolled back up Meridian to where I'd parked the car and drove over to Roberts to drop off film. I think I need to do this more often.

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Five by Five

Just finishing up a piece for RECOIL...

Granted, it's only five yards, but I was shooting offhand at a reasonable pace and those sights aren't the easiest to use. That trigger's no basket of kittens and rainbows, either...

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Random Updates:

• Finished the last episode of The Queen's Gambit last night. This series was nearly perfectly-executed television in my book: very well-acted and shot, and the sets and soundtrack both helped set the mood and tell the story. It was also another excellent demonstration that the only real way to do justice to a novel-length presentation is in a miniseries.


• Took the Leicaflex SL for a walk yesterday afternoon. I was shooting from the hip, exposure-wise, but double-checking my guesses with the myLightMeter Pro app on my phone. Everything was going swimmingly until I took a shot at 1/125th at f/5.6 and the mirror hung in the up position. I'd shot about eight frames at that point, so I rewound the film and I'll take it to Roberts today. Went home and dry-fired the camera fifty or sixty times, both with the lens off and on, at 1/2000th to see if it loosens anything up. Lesson learned: Go back to using a 24 exposure roll of the absolute cheapest Fuji or Kodak from the drug store for test rolls, rather than a 36-exposure roll of Ilford.

Below, see a video about the light meter app I use!

*hot take*

/rails at man for attacking our constitutional government
/rails at government for following constitution

Will you make up your mind, Jim? https://t.co/wMtwjDaXpw

— Tamara K. (@TamSlick) January 13, 2021

*spit take*

"There is no room for violence of any kind in our nation. If any violence shows up, I'll kick it in the face so hard it will fly right out of our nation." https://t.co/wzYlTrHkxh

— Tamara K. (@TamSlick) January 13, 2021

Standards

My first digital camera was a 1.3MP Mavica FD88 that I hung on to for a year or two after it was obsolete (I mean, cameras got obsoleted every three months back then) because memory stick/card standards were totally non-standardized but every computer would always have a 3.5" floppy for emergency booting, right? 

Memory card standards in DSLRs more or less shook out in the early Aughties. Compact Flash was the initial winner, although it gradually started getting supplanted by SD cards about ten years ago, starting in smaller consumer-level bodies.

In fact, many pro bodies, up until last week or so, still had CF slots simply because photojournalists had so much CF infrastructure. It's only been in the last year or so that I've had a hard time finding CF cards small enough for older cameras like my D1x and D200 to use. 

Interestingly, you can still get really big CF cards easily, and there are a lot of companies still selling the tiny sub-1MB CF cards that are needed by old CNC machinery on Amazon...but cards in the 2-8MB range that are usable by older cameras are getting scarcer by the year. If I walk into Roberts camera right now, I can buy film for my 80-y.o. Leica, but I might not be able to get a CF card small enough for my 18-y.o. Nikon D1x to recognize.

Future Imperfect, Tense

This is gonna be the future with the three seashells, then? Not the one with the razor boomerang kid or the one with President Mountain Dew Camacho?

I'm asking so I can make better long term plans. https://t.co/esSVE83Y6X

— Tamara K. (@TamSlick) January 12, 2021

Let's see if it works...

Behold the "Diesel Leica", so called because of its bulk, Brutalist styling, and baroque mechanicals. It's the camera that almost bankrupted Leitz!

I have it loaded with Ilford XP2, an ISO 400 black & white film that's developed using the C-41 color process. This means I can have it done on-site at Roberts downtown. Or, I guess, if you didn't mind not getting your negatives back, you could drop it off at a CVS or Walgreens. Of course, getting the negatives back is kinda the whole point of shooting film in 2021.

I haven't bothered trying to put a battery in it to see if the meter works. I have a light meter app on my iPhone if I need it, but C41 negative film has pretty decent exposure latitude and as long as I stick with the "Sunny 16" rule and don't try any really tricky shots, I probably won't need it. Since the camera itself is entirely mechanical, all the battery does is power the meter, anyway.

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Gratuitous Gun Pr0n #195...

Here's a larger photo of the 509 LS Edge with my Trijicon RM08G mounted:

FN has a video up with, in amongst the expected advertising fluff & superlatives, a good look at the basic features of the pistol.

Because Racegun

My initial look at the FN 509 LS Edge is up at RECOILweb:

"Developed with input from demanding shooters like Dave Sevigny and Tim Kennedy, the FN 509 LS Edge has a host of details to help it deliver the results. For instance, the suppressor-height irons, solid black in the rear and fiber optic with a bright green light pipe up front, line up for a lower-third co-witness on most miniature red-dot sights.

The magazine release, while still ambidextrous, has the right-hand button heavily beveled, almost flush with the frame. This keeps an aggressive high grip from inadvertently dislodging the mag. 

The lightening cuts in the slide of the FN 509 LS Edge aren’t just there to look oh-so-2020; they reduce the mass of the slide, helping to both keep the gun shooting flat and to remain compatible with the recoil spring assembly of its duty-size kin."

Dave Sevigny with the LS Edge

I was proud of the "you might say that a whole legion of Edge variants will follow this one in subsequent years" line. Especially because I first said it during the initial presentation.

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Let's get this done.

Indiana's state legislature went into session last week, and saw the introduction of House Bill 1369, which is our latest run at Constitutional Carry. 

This bill does not affect the availability of concealed carry permits for Hoosiers who want one for the purposes of interstate reciprocity or the amended Gun-Free School Zones Act. (This was the error of our first meaningful attempt at Constitutional Carry years ago, which just tore out all permitting language, root and branch.)

We've run this play in the legislature a few times in recent sessions but the former Speaker of the House, despite being a Republican who called himself "Indiana's Conservative Leader" but was mostly in the hip pockets of the State Chambers of Commerce, was a problem. Since the Chambers of Commerce were still buttsore over our expanded preemption law, he dutifully allowed Constitutional Carry to die in committee, session after session.

Well, Bosma's gone now, so let's git 'er done this session. Hoosiers can contact their state reps via link here, although actual letters or phone calls are always more effective at the state legislative level.

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That's a lotta guns...

Thank goodness I already have a gun, because that line is cray-cray. 😮 https://t.co/0okoW438qX

— Tamara K. (@TamSlick) January 9, 2021

People don't generally line up like this to buy guns with the intention of turning around and immediately turning them in. Just thought I'd throw that out there.

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Not How This Works

The headline on the latest Washington Post opinion page piece on the Jacob Blake shooting in Kenosha reads:

Seven shots. Point-blank range. No charges.

I understand that the writer is very upset at what they seem to think is a miscarriage of justice, based on their legal training from old Law & Order reruns, but...um...I've got some bad news for them. Neither the number of shots nor the range they were delivered at have any bearing at all on the legality of the shooting.

The question is not how many times the shooter shoots or what range he shoots at, it's:

"Are you in reasonable fear of immediate, otherwise unavoidable, death or grievous bodily harm to yourself or another innocent person?"

If there's a dude within arm's length of me who's not dropping the knife, well...

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