Autumn and Winter.

Saying goodbye to 2016 is not too hard.
Heck of a year it was.

A portra state of mind

2015.4 Ayase

Nikon F3HP + NIKKOR 50mm f/1.4 AI

愛恨交織—Sigma 50mm F1.4 DG HSM (ART)

開始玩相機大約2年左右。我為自己的第一台單反相機，Nikon Df上所購買的鏡頭就是一顆50mm的“標準”鏡頭，是Nikon的AF 50mm f/1.4D。當時記得它全開很柔，但是顏色清麗，反差不高。什麼都不太懂的我還以為它性能非常好，用全開光圈拍了很多淺景深、淺景深、還是淺景深的照片。後來買了第二顆鏡頭才知道，日本這裡所說的“交換式鏡頭的沼澤”是什麼意思。我發現了，原來高價鏡頭確實有不一樣。

上面提到的“第二顆鏡頭”，正是Sigma 50mm F1.4 DG HSM。是Sigma的ART系列鏡頭。

我在買Df之前，從來沒有接觸過單反的世界。而Df與這顆Sigma鏡頭的搭配，可以說是帶了我入門的伙伴。我到現在一直在滅門換系統，兩年了，可是這顆鏡頭不管在我跳Sony、跳Fujifilm、跳Olympus、還是跳Canon，都會一直出現在我的器材庫裡面。我前前後后買了10次這顆鏡頭。有的是因為滅門來回太多次，但更多是因為品控實在是太噁心了。 （不知道是不是我的運氣不好）

眾所周知，Sigma不管是在邁入Global Vision時代之前還是之後，買家都會為了“跑焦馬”所操心。而剛好我遇上了非常、非常多次。我也是傷透了心的買家之一。但是我依然為了性能使用這顆鏡頭，讓它斷斷續續在不同機身上陪伴了我2年。

在前面先說明了。我遇過前面跑、後面跑、不同距離不規則跑、摔了地上跑、氣溫變化了跑、馬達出問題等等的各種情況。我是衷心地羨慕那些沒有遇到跑焦的用戶。

這顆鏡頭不管在哪一台機身上都是非常非常非常重的。從我最開始用到手快抽筋的Nikon Df上，到手感還行、用的最久的D810上，到完全不想多插的A7 Mark II上，到現在的5D Mark III、1D X上，它都是我的鏡頭群裡面最重（或者最重之一）的一顆鏡頭。我個人是不太用遠望鏡頭拍照，所以也一直沒有鏡頭的重量能夠明顯比它重上很多。我也習慣性會裝電池手柄拍照，所以鏡頭+機身握在手上，特別酸爽，又酸又不爽那種酸爽。

除了到哪兒重量都很重以外，不變的特色就是它高質量的光學素質了。從光圈全開開始就不負期望，非常的銳利，但是我覺得不算死氣硬調。女孩子的頭髮都能一根一根的看清楚，感覺好像真的可以數毛。後面的虛化也毫不含糊，我覺得是我喜歡的虛化的感覺。

SLR Lounge的Joe曾經說過，它看到這顆鏡頭在它那時候的5D Mark III上所拍出來的照片，還以為是利用Brenizer拍法（多圖疊加虛化）拍出來的照片，因為焦內非常銳利，但是焦外過度又很有立體感。線條描繪的很細膩，讓主體和背景能夠明確的分離開。加上本身全開就有高反差的光學特性，很容易就能看出來有立體感。

F1.4的大光圈鏡頭在以前的時代，可能都會讓用戶下意識地縮個1檔半的光圈再開始拍攝。除了銳度不足之外，以前的鏡頭還有常見的球面像差這個問題。 Sigma的這顆鏡頭並沒有像Nikon的58mm f/1.4G那樣倒回去劍走偏鋒，而是把現代鏡頭的合理化地做到一定程度的高度。靠著堆料，這顆鏡頭有著相當好的像場平坦程度，各種距離的球面相差都得到了抑制。許多時候要縮光圈，變成只是為了要更多的景深而已，而不是像以前一樣大多是為了更高的銳利程度。

一眼レフに戻ってきた

やっぱ富士フィルムはダメだなー。

色合いがいいけど、シャープネスは全然ダメだ。

今回はキャノンに戻った。

しょうがないなー

池袋ハロウィンコスプレフェス 2016

昨日、池袋へ友たちと遊びに行きました。

今年の池ハロに写真はあまり撮らなかったが、いつも通り楽しかったです　(^ ^)

Sundown. Embracing a new self.

写真から

音楽が聞こえたらいいな

君は今

どんな曲聞いてるの

デジタル編

我對隨身相機完全沒有抗拒力

I'm a sucker for compact cameras.

不管是數碼相機還是膠片相機，隨身相機在我的器材庫中總有它們的一席之地。

我深愛著我最近兩個月每天塞口袋裏面的GR。但是我想也是時候在隨身家族裏加入新朋友了。

這臺Olympus XA是我的下一個收藏品。

雖然也不算是什麼稀有物，但是相信我應該會很珍惜它。我一直在找一個比我的Konica C35和Canon Canonet QL17 G-III更小的手動對焦隨身相機，而這臺XA正是我選擇的答案。

Olympus把35mm的小廣角鏡頭配合F2.8的光圈做到這麼小的機身裏面，實在很難得。據說這裡面的鏡片裏面還有一枚是螢石鏡片，不知道是不是真的。

ニコンとＧＲと共に、直感で撮る

ＧＲレンズは開放から独特の鮮鋭度があって、実に素晴らしいレンズです。

鮮鋭感ある写真を撮りたくて、クールに東京タワーの夜を撮ってみました。

万全を期すため、ニコンの一眼レフをＧＲと共に持って浜松町へ行きました。

Love for GR

It has been over 3 months since I bought the Ricoh GR and GR1S, and unlike most other cameras I have owned, it's really been a no-regret kind of relationship between me and the GR.

I don't think I need to elaborate more on the cameras themselves. They are the GR. What makes them special, I believe, are the innate simplicity and utilitarian design that's inherited all the way from film to the digial age.

The only gripe I have with the digital GR is not that it doesn't have a full-frame sensor, because I'm actually fine with it having an APS-C sized sensor if it means to limit the size and weight of the body. I find it funny, using my GR and GR1S alongside each other very often, that I can sometimes hit the OVF-less digital GR in my face because I thought I needed to look into the viewfinder like when I use the GR1S.

That's it. I have no other complaints.

「ＧＲを超えるものはＧＲしかない。」

夏 花火 北海道 *･゜ﾟ･*:.｡..｡.:*･'(*ﾟ▽ﾟ*)'･*:.｡. .｡.:*･゜ﾟ･*

北陸旅行から帰りました。

*･゜ﾟ･*:.｡..｡.:*･'(*ﾟ▽ﾟ*)'･*:.｡. .｡.:*･゜ﾟ･*

2年ぶりの旅に出て、昨日帰宅しました。以前は北海道へ行ったことがあるが、今回は初めて富良野と美瑛町へ行きました。美しい景色や場所を巡ってみました。

この夏は、去年より、幸せな思い出が心に残りましたね。

来年は関西へ行きたいです。ＵＳＪへ行きたいです　♪( ´▽｀)

北海道編

やっと、Xへ

あああああああああああああああああああああ

来たあああああああああああ

噂の5D Mark IVを待つ間に、夢の1D Xを購入しました。

第一印象はやっぱボディが重いこと。

さすがのフラッグシップ機。さすがの1Dシリーズ。

まだ公開していないが、5D Mark IVについて、予想の発売日は年末になるかもしれない。新時代の5Dシリーズに移行する前に、一度1D Xを試して欲しいと思ってカメラ屋で中古購入しました。

シャッター音は？5D Mark IIIの「パッ」、「パッ」、「パッ」じゃなくて、なんと、「カチン」、「カチン」って、これこそ一眼レフの真骨頂！

行って良かった

My First Canon "L" Prime

I don't usually buy into the "L" hype or the "G" crave that Canon and Nikon has to offer, especially nowadays that third party manufacturers like Sigma and Tamron have lenses that are up to the premium-level glass of the first party. I've purchased two of the holy trinities from Canon before, finding them great, albeit very expensive (and justifiably so). I never really needed these zooms but I bought them anyway just for safety in unexpected scenarios.

The Canon EF 135mm F2L is a different story, though.

I have been lusting over this lens for a long time now, and I think this is the right time to finally have it in my kit. This almost-20-years-old piece of glass is nothing short of sublime IMHO. Although it's a bit long in the tooth, I find it to have the best resolution in comparison to other 135mm lenses I have used. It's built like a tank (very worthy of being an "L" lens), and the performance is excellent considering it's only costing me 70,000 or so Yen. Contrast isn't the best at wide-open like the modern Sigma lenses, but I can easily correct this in Lightroom.

It's all personal opinion here, but I sometimes find the 85mm FOV a bit awkward in that I find myself gravitating to my 50mm lens most of the time for portraiture (I don't shoot headshots, BTW). It's just how I shoot. The 85mm just does not get enough work in my kit to justify its value, so I decided to finally make the jump from 85mm to 135mm to make an obvious difference in focal lengths, hoping that I'll actually make use of this short-telephoto lens in the future.

Right now I find the 135mm to be a refreshing focal length to use. Other than portraits, I can use this lens to shoot some trains and some landscapes where I might need some compression.

I'm eager to see how this will change my approach to shooting different things :D

クセカメ購入

そう、ハッセルを手放してPentacon Six TL買っちゃいました ^^

ファーストインプレッションは？

ハッセルよりファインダー小さくて暗い！

でも軽いさは抜群だ。中判の高性能と３５ミリ判の一眼レフに近い利便性をバランス良く両立させているのが特徴だ。

今はCarl Zeiss Jena Biometar 80mm F2.8使ってます。

このレンズの描写は暖かみのある、スッキリ系だ。色乗りがいいし、ボケ味も綺麗だし、逆光撮影にも強い。

以前ハッセルでよく使ったCarl Zeiss C Planar 80mm f/2.8と比べて、やっぱりこっちの方がちょっと甘い。同じツァイスなのに、ビオメターは後期のプラナーと比べるとかなり性格は異なる印象だ。

それじゃ、また。

A Taste of Yashica and Tomioka

This is a late exhibition report.

The author of Time for Lenses（レンズの時間）, Mr. Suzuki, held a little exhibition at Popeye Camera a few months ago. On display were photographs taken by him with rare lenses (like the Zunow 50mm F1.1) and fun, mostly unknown stuff such as some modified-lenses.

There were also a couple of his favorite lenses on sale, most with pretty decent price tags.

Intrigued by compact rangefinder cameras, I was immediately gravitated towards a modified-Yashica COLOR-YASHINON DX 45mm F1.7 converted to the Fujifilm X-Mount. Although by no means is this lens hard to find on the internet for sale, it's definitely a rare sight in person.

Legend says that this lens, which was originally paired with the Yashica Electro 35 series of cameras, was designed and made by the guys over at Tomioka. Tomioka famously made many great Yashica lenses in the past, and was also credited in manufacturing the legendary Yashica ML 55mm F1.2 on the C/Y mount. 

Mr. Suzuki, having done various interviews with optics manufacturers, later confirmed for me that this lens was indeed made by Tomioka.

Zeiss and T*

Zeiss's T* coating is well known in the photography community to be highly effective in dealing with flaring and ghosting in backlit situations, but come to think of it, is this really true?

I'm certainly not a Zeiss-guru per se, but I've had various Zeiss lenses come and go in my kit. I've always thought of the T* coating as just an advertising gimmick, but this might just be me. This notion of mine comes from experiences shooting against the sun and getting lens flare and ghosting on my pictures that I normally don't get on, let's say, pictures shot from my Nikkkor lenses. (Not to say I don't like flaring and ghosting here, though.)

I've come a long way from shooting T-coated Zeiss Opton-Sonnar 50mm F1.5 to lenses that are more recent like the Sonnar 35mm F2 on the RX1/RX1R and other Sony-Zeiss lenses on my A7's, and I do recognize significant improvements that Zeiss has made in the digital era. However, I really don't get the hype whenever something's being advertised to have been coated with Zeiss T*.

Lens coating technology is getting so good these days that I might just be nitpicking here. These Zeiss lenses are certainly better (in an objective way of thinking) than those super vintage lenses that tend to produce low-contrast and foggy images. 

So is it better than the past? Hell yeah, but this doesn't say much though.

Should people give into the hype of T* marketing? Yeah... Probably not.

Thoughts on the Lomo LC-Wide

I have to admit upfront that when I first heard the word "lomo", I have in my mind cross-processed, heavy-vignetted, ultra-saturated pictures. I hate those things, and the LC-Wide did not change my mind about cheap-ass filters that I can get just as easily on my phone. However, this camera showed me that it's not just about the look that gave Lomography such a cult-following.

Let me explain.

I'm not going to call this little camera a beauty, because let's be honest, it NOT PRETTY, like AT ALL. The Lomo LC-Wide resonates with me more like a toy, but I'm not going as far as to calling it a toy camera, just to show some respect. (Quite frankly, I don't believe Lomography themselves consider what they make toy cameras.)

The LC-Wide is an interesting little film camera. It has a 17mm Minigon ultra wide angle lens on it, which I think is totally amazing. Do you guys realize what an ultra wide like this would cost as a stand alone lens on any given mount?

I bought the LC-Wide at a bargain price of under 30,000 Yen, and I haven't regretted this purchase one bit. The Minigon lens on it is contrasty and vignettes strongly just like how I have speculated, but quite surprisingly I actually like this little camera. Don't get me wrong, though, I'm not saying I like the so-called "Lomo effect" that I can get from this camera, I'm purely talking about the joy of using the LC-Wide.

溫柔、無味的6x6 | Yashica Mat-124G

這是我的第一台中畫幅6x6相機，也是我的第一台TLR。以前在用Pentax 6x7的時候，因為機身太過笨重，對自己來說也沒有其他太多吸引人的外觀特色，除了外拍使用上實在沒太多興趣帶出門。但是這台Yashica Mat-124G改變了我對中畫幅相機的看法和使用方式。

1970年生產的Yashica Mat-124G其實在時代上已經是接近TLR成熟期的一款型號了，也是Yashica最後一台TLR，於1989年才正式停產。它有內置測光功能、支持220底片、而且價格低廉，使用上也沒有太多的quirk。它的誕生是在Yashica於1972年與Carl Zeiss合作之前，也與1983被Kyocera收購之前還有一段時間，算是Yashica作為獨立公司的全盛時期下所開發的一款TLR。

相機結構

Yashica Mat-124G是一款6x6比例的中畫幅膠片相機。顧名思義，拍出來的照片是正方形的。特別適合上傳instagram。 （不）

它除了可以用120底片，也能用220底片，但是我從買到現在只拍過120，還未拍過220。切換這兩種也十分容易，底片倉有個小桿子，撥一下就能提示自己了。

裝底片、過片、回捲等動作也十分簡潔明了。對於在這之前從來沒用過TLR的我，我覺得算是很好用的一款相機。 Youtube的視頻有好幾個，看一下大概就能知道使用方式了，我也就不再多說。

它的測光錶我當做是壞的。本身精度並不高，用替代品的話電壓也會不太對。我買了一個Voigtlander的VC Meter來替代。不過YashicaMat-124G的熱靴很滑，讓我移動的時候常常讓掛在上面的測光錶掉落，很不方便。

Yashinon鏡頭

成像方面，它有著一顆Yashinon 80mm f/3.5的鏡頭。結構應該是Tessar type，不過實際用過應該都知道它和很多有名的那些鏡頭不在一個級別上面。當然，我沒用過Rolleiflex或者Mamiya的6x6膠片相機和鏡頭，我只知道這顆Yashinon的表現並不是那麼討喜。

它很清淡，反差很低，全開的時候偏軟調。逆光的時候顏色會顯得更淡雅，可能是鍍膜扛不住強光的原因吧。不過我個人是蠻喜歡它逆光時的成像的，眩光和鬼影是一道道的彩虹色。

Carl Zeiss 加持，口袋裡的二當家，Kyocera Contax T2

Contax T2用了快一年了，愛恨交織，但是幾乎每天帶著。 X100T在身邊的時候，T2使用的機率雖然大大減少了，但是想毫不在意地snap的時候還是會用用。

買T2的契機，其實是因為之前過手了幾台35mm畫幅的底片相機，包括Nikon FE2、F3HP甚至是自動化的F100，讓我覺得帶在身上挺重的，還不如帶我的X100T出門。所以去年年中左右物色了幾台自己想買的隨身相機。第一眼就看上了Ricoh GR1/S/V和Contax T2/3這兩個系列的相機。一點是因為焦距自己足夠喜歡，另一點就是覺得夠有個性、夠好玩。

1年下來拍的最多的底片是Portra 400還有Ultra Max，最近一個月才轉拍Fuji 400H跟Neopan 100 Acros。如果帶著120畫幅相機，就會拿T2跟120相機用一樣的底片（120 acros / 135 acros etc.）混著拍。不拍大家常用的Ilford卷或者Tri-X的原因是想和X-Pro2的Acros模式好好的比較。這個以後我也會另外寫點東西，對比真假Acros。 （Spoiler alert：Fuji真心不愧是做膠片的）

去中古店看的時候手裡把T2拿起來，其實覺得T2還蠻大的，直覺比以前用過的Fujifilm Klasse還大，但其實手感還蠻好的，並不算特別重，屬於能夠一隻手拿起來對焦拍照的相機。

我對握持感的要求也不低，T2算是剛剛好達到標準線吧。雖然沒有突出的手柄部分，但是整體的titanium外殼加上手柄部分的一點橡膠讓相機不會很滑手。本身重量的平衡感也很到位，算是可以隨拍的相機，在我心目中就大大地加分了。

手感、操作性

因為T3超出預算、Nikon的XXTi系列始終看不上眼、Ricoh的28m​​m視角還是不太習慣，就決定買了Contax T2，剛到手沒多久，我和朋友借了一台GR1V一起拍了一星期左右的時間。說實話，GR1V的手感實在是太舒服了。又輕又小，是真正的口袋機器，而T2大概屬於能勉強塞進牛仔褲的隨身相機。如果牛仔褲稍微緊身一點，還會讓人覺得奇葩，寬鬆一點又讓人覺得邋遢，所以我一般都把T2放到外套、夾克的口袋裡面。