Brief update: in the end I did not enter the contest for the LEICA Oskar Barnack Newcomer Award, contrary from what I said a month ago or so. I just had no time to work on my pictures so well, here go my chances of taking part to it, given that I will not be eligible next year. Anyway, it does not matter much. In the last few days, I have been scanning again some (almost all) of my color film. My workflow is now much more consistent (minimal Vuescan + minimal ColorPerfect + minimal Photoshop) and I am much more aware of what I am doing. Reading the documentation helps, tinkering with the software helps even more. I also got a very nice book: The Digital Photography Workflow Handbook by Juergen Gulbins and Uwe Steinmueller. I am very satisfied with it, since it not only covers a lot of material in an easy way, but also tells the user why some way of (post)processing images is better than another. Given that I am now a bit more happy with my scanning+postproduction results, I am also very looking forward to go downtown to the new AS220 new digital photography space and print something on their printers. Yay for community art places (especially when they are full of nice people like AS220).
But let’s get back to the topic: by scanning my pictures I realized that I still do not master the Konica M-Hexagon 28mm f/2.8 properly. The covered field is very wide compared to my beloved Leica Summicron-C 40mm f/2 and, due to my glasses, it is very difficult for me to see the entire framelines of the 28mm in my Leica M6TTL. But this is also a bit of an excuse: reality is that the 28mm forces you to go much closer to your subjects, especially in the kind of street photography I love. So I am happy: the 28mm forces me out of my “comfortable space of action”, which is always a good thing for a (wannabe) photoamateur. I have to thank Filippo again for selling me (at a very good price, IMHO) this wonderful lens.
Uh, it’s funny: a post about photography with no photos at all…
Posted from Providence, Rhode Island, United States.