Zeiss C Sonnar T* 1,5/50 ZM (Eng)

Categoria: English Pubblicato: Venerdì, 28 Aprile 2017 Scritto da Max Angeloni

Translated by Pietro Todaro


 A "Classic" taste for the Leica M system ... and not only
There are few unchanging certainties in photography. One of these is the 50mm.
The 50mm is the quintessential photographic lens.
The whole world has been photographed with this focal length. Entire generation of photographers grew up with the 50mm.

 Un obiettivo dal sapore “Classico” per il sistema Leica M… e non solo
Ci sono poche certezze immutabili nella fotografia. Una di queste è il 50mm.
Il 50mm è l’obiettivo per eccellenza della fotografia.
Con questa focale è stato fotografando il mondo. Intere generazioni di fotografi sono cresciute con i 50mm. (Versione Italiana)

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Leica M: Classic Camera or Digital Snob Photography? (Eng)

Categoria: English Pubblicato: Sabato, 19 Novembre 2016 Scritto da Max Angeloni

Translated by Pietro Todaro

 Lets be honest.

Generally speaking, its not rare that a debate will spark up when talking about photography. If we touch certain subjects then it will almost surely end up in a debate.
When we then speak about Leica we always have the feeling of walking into a crystal shop riding on the back of an elephant. We will surely wreak chaos.
This is so because “spoken” photography, just like sports and politics, is full of fans, technicians, philosophers and custodians of the absolute truth.
In Italy, when speaking about our national football team, we joke around by affirming that we are a country of 56 million coaches.

 Siamo onesti.

Quando si parla genericamente di fotografia non è raro innescare polemiche.
Se poi tocchiamo alcuni argomenti sembra quasi obbligatorio entrare in polemica.
Quando poi si parla di Leica si ha sempre la sensazione di entrare in una cristalleria sul dorso di un elefante. Si scatenerà sicuramente un casino.
E si perché la fotografia “parlata”, come lo sport e la politica, sembra frequentata prevalentemente da tifosi, tecnici, filosofi e depositari del verbo assoluto.
In Italia, quando parliamo della nostra nazionale di calcio, ci prendiamo in giro affermando di essere 56 milioni di allenatori. (Italian Version Here)

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Sony G Master 24-70 f/2.8 e 85 f/1.4 (Eng)

Categoria: English Pubblicato: Sabato, 17 Settembre 2016 Scritto da Max Angeloni

 Translated by Pietro Todaro

Sony G Master FE 24-70 mm F2,8 - 1/3200, f/2.8, Iso 125

In the article dedicated to the second generation of  Sony's “Alpha 7”, I began an analysis of the lenses dedicated to this system.
Just as I was finishing up the article I got a chance to try out, for a short span of time, the new Sony G Master lenses.
Too short a time to allow me to express an opinion. Therefore I decided to postpone the field test to a moment in which I would have had sufficient time to put these lenses to the test.
Traditionally, one has a bit of free time during the summer holidays.

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Fujifilm X-T2: Professional Compact System Camera 1.0

Categoria: English Pubblicato: Mercoledì, 29 Giugno 2016 Scritto da Max Angeloni

Translated by Pietro Todaro

Fujifilm X-T2 - Fujinon XF16-55mm F2.8 R LM WR - 1/250, f/9, Iso 200 (Light 2 x Godox 360 - 1 gel Blue filter)

Lets make a shopping list: weather-proof body... got it, two memory card slots... got it, operative speed... got it, 1/250 sincro Flash... got it, USB-charging in Camera... got it, auto-focus accuracy and speed... got this as well, ergonomics.... got it, there's also a battery grip that triplicates its autonomy. Very well! Then? Ah yes, burst shots... that reach 11 frames per second. Then? Ah yes, video in 4K and functions that are finally adequate to the ones of its competitors... these are there as well.
It seams that nothing is missing.

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Fujifilm X-Pro2... Back to the Future

Categoria: English Pubblicato: Domenica, 05 Giugno 2016 Scritto da Max Angeloni


Fujifilm X-Pro2 - Fujinon XF23mm F1.4 R (1/4400, f/2, Iso 200)

Translate by Pietro Todaro

After thunder comes rain...
I remember that questions regarding the release of the X-Pro 2 started just a couple of months after the X-Pro1 hit the market.
Being this one of the Fujifilm models that I had christened, I have always been aware of when this succession would have taken place. I must have repeated, “end of 2015” hundreds of times. And so it was.
The announcement of the X-Pro2 was a relief… at least for several months I would not heard this question over and over again.
But why was there so much expectation around this camera model?
The reasons are several.

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Sony A7 second act

Categoria: English Pubblicato: Venerdì, 27 Maggio 2016 Scritto da Max Angeloni

Translation by Pietro Todaro

This is how I concluded the article on the Sony Cyber Shot RX1 in the beginning of 2013:

“(...) Its not a question of cost. With a handful of Euros one could add 3 batteries and its traditional battery charger to the kit. Together with a  small case in neoprene, a buyer of the Sony RX1 would be able to tour the world without having the need to carry any other photographic instrument. ...there... its the little things.
Just like that extra centimeter that would entitle the RX1 to enter photographic history. That extra centimeter in which the sophisticated Trufinder 2 OLED viewfinder, a battery with greater capacity, a more rational layout of the controls, in which the shutter speed dial would find space.

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Giulio Limongelli. The “Digingranditore”, from light to light

Categoria: English Pubblicato: Mercoledì, 10 Febbraio 2016 Scritto da Giorgio Rossi

translation by Francesco Castiglione

What I am about to explain needs a little background.
As everybody knows, “to photograph” means writing with light. When shooting, the light hits the film, the sensitive layer reacts chemically imprinting on film what was in front of the lens. The image is then recorded on the film but it’s not yet visible. Afterward, the negative is obtained only by developing it. The areas that have been hit by the light become black, while the areas least affected by the light - the ones that were on shadow - become transparent. The opposite happens in the darkroom.

Fotografare significa scrivere con la luce, questo lo sanno ormai anche i sassi. Eppure per capire l'argomento che sto per trattare tornare brevemente su questo concetto ed approfondirlo non è male.
Al momento dello scatto la luce colpisce la pellicola, lo strato sensibile  reagisce chimicamente,  resta  impressa una memoria di ciò che era davanti all'obiettivo.  L’immagine viene registrata sulla pellicola ma non è direttamente visibile, deve venire sviluppata, si ottiene  un  negativo.Le zone colpite dalla luce intensa anneriscono, le zone meno colpite dalla luce, quelle che nella realtà erano in ombre, diventano trasparenti.
In camera oscura avviene l'inverso. (Articolo in Italiano)

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Fujifilm X-E2s: Noble art

Categoria: English Pubblicato: Giovedì, 14 Gennaio 2016 Scritto da Max Angeloni

Fujifilm X-E2s - Fujinon XF 16-55 f/2.8 - 1/800, f/4, Iso 200

Fujifilm X-E2s
Time back, there were cameras that costed 50 dollars and cameras that costed 3,000 dollars.
Yet the sensor was the same. The film.
In our days it almost seems like an impossible task to make the new generation of amateur photographers understand that the sensor, or rather the resolution of the sensor, is only one of the many aspects that distinguishes one camera from another.

Un tempo esistevano macchine fotografiche che costavano 50 mila lire e macchine fotografiche che scostavano 3 milioni di lire.
Eppure il sensore era lo stesso. La pellicola.
Ai nostri giorni sembrerebbe un’impresa impossibile far comprendere alle nuove generazione di fotoamatori che il sensore… anzi… la risoluzione del sensore, è solo uno dei tanti aspetti che contraddistinguono un mezzo fotografico da un altro. (Versione in Italiano)

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