Leica M7

Boys & Girls Clubs of L.A. Need Your Vote!

I have some photographic experience with the Boys & Girls Clubs here in the Los Angeles area, they provide a wonderful and oh-so important group club foundation for kids who we all know very much need it.

A few years ago the WNBA and Jamba Juice partnered with the Boys & Girls Club of Santa Monica for a kid’s fitness awareness event and I was privileged enough to photograph it with my two film Leica cameras, the M7 and the M6 TTL. Film is a gas. The kids were great! Hope you enjoy the photo mosaic!

But more than that, I hope you follow the links below and vote for the Los Angeles Center of Photography’s grant application to teach photography to the Boys & Girls Clubs here in LA.

I did it!

It was easy. “Join” with your Facebook or Twitter account. I’ve only met Julia Dean once but it was very clear how down-to-earth and personable she is and I can’t think of a better person to teach photography to kids in LA.

If you haven’t heard….

The Los Angeles Center of Photography has applied for a $100,000 grant to help teach LA’s Boys & Girls Clubs photography. To win the grant requires votes from friends of both photography and kids!

More from the LACP:

There are 51 proposals in our category and right now, we’re in 20th place. We must be in the top 10 for a chance to win. (The committee selects the winner from the top 10.) Our proposal outlines a yearlong photography program in LA’s Boys & Girls Clubs. The grant is meant for non-profits with projects that will help create a better LA, now and in the future. VOTING ends on November 3.

PLEASE VOTE!!! It will take only five minutes. Here is how to do it:

1. Go to: http://www.LA2050.org

2. Hit the hot pink tab that reads VOTE IN THE MYLA2050 GRANTS CHALLENGE

3. Choose a Submission Category (Our proposal is under CREATE)

4. Now you have to sign up. Signing up is easy. See the top right corner of the LA2050 home page, where it reads, “Join.”

5. Then find our project (you will see a picture of me in a classroom with the Boys & Girls Club kids) and VOTE for LACP’s proposal!

6. You will then get an email confirming your vote. (This may take up to an hour to get this, so don’t fret.) You have to click on the link in this email to confirm your vote.

 

Pictures of a Bus Stop (REBLOG)

50'Lux

I think images should require something from the person who is looking upon them. A photograph doesn’t or shouldn’t have to be obvious in order to be something that holds some value. I think this image could be taken as an example of that. I don’t want to say much more about the picture itself. It either makes a statement to you or it doesn’t. It made a statement to me.

Now it has a sequel. The top image was shot almost a year ago and was taken with the Zeiss 50mm Sonnar 1.5. I think the color representation of that lens is evident in the image. That lens is just stellar and classic. The second image, the one at the bottom of this post, was taken with the Leica 50mm Summilux 1.4 ASPH, and I think the color signature of that lens is also amazingly evident in this shot.

View original post 430 more words

Throwback Thursday AGAIN! — Fashion’s Night Out 2011 in Beverly Hills

Getting back to some Leica photography. The date has been announced for the annual Fashion’s Night Out 2012 and it is September 6th.

Sooo… this entry today here at 50lux.com has a triple purpose.

First, I would like to give Leica and other lowlight shooters a heads-up to the coming FNO extravaganza, Vogue Magazine’s world-wide phenomena and to let you all know that this very impressive event is probably coming to a city somewhere near you.

It’s an incredible opportunity to get out and photograph great style and beauty and all in the vibrant colors and exact low-light conditions where our super-fast Leica glass really shows its stuff.

Second, of course, I want to showcase my own humble efforts in that regard from last year. All the images you see here were shot on film, with my trusty M7. Mostly with a Zeiss 50mm Sonnar f1.5 mounted, but there’s more than a few with the Leica 35mm Summicron 2.0 ASPH. Also shot mostly Kodak 800 Ultramax film but I also put a couple of rolls of TMAX 32oo through the M7 which I will post in a few days.

But now, and thirdly, I’m also going to turn my attention to a gentle constructive review of the event itself with the hope that this critique will find whomever might be in the organizing group planning this year’s festivities in Beverly Hills, where the FNO event I attended took place. You’ll get an idea of why I would want to get this into their hands if you read on.

Okay, right up front I should say that my attending last year’s Fashion’s Night Out in Beverly Hills event was for the sole purpose of shooting some frames of fast film with some even faster Leica and Zeiss glass mounted on my M7.

But I’m a critical sort. So in between trying to catch some of the most beautiful women I’ve ever seen in my camera’s viewfinder, I did manage to cast a critical eye towards the event itself.

First, I think it’s a great idea. I’m a photographer. I love beauty and fashion. I have no connection, however, with the beauty or fashion industry as a photographer, or in any other way except as a admiring male who doesn’t leer from behind a camera.

Much. Come on, I am perfectly capable of taking a great picture of a beautiful woman without leering. In theory.

Anyway, I didn’t attend the event in 2010 so I have no reference point to compare 2011 with the previous year. But I was surprised at how little there was actually going on at this event on the very premier boulevard of shopping and fashion: Rodeo of Beverly Hills.

Leica M7, Zeiss 50mm Sonnar 1.5

Not to be overly critical, but I expected many small continuous fashion shows outside of some of the major trendy stores. A little more effort from the big fashion houses. An appreciable media presence. A few big names.

Pretty much nothing like that here. There was a set up for a fashion show, so maybe I was late. Got there at 8:00 and the event was scheduled till 10:00. Stores were pretty much an indoor thing, just like any other day. Except this was night.

There was a makeover area which was certainly busy. A street portrait artist working in charcoal, I believe. Food was supplied by a handful of not very interesting food trucks. People were lounging on the curb eating.

At one or two of the stores, there was an actual doorman allowing entry to only, I supposed, an invited few. Nice touch there as some pretty fancy Beverly Hills wives were turned away. Ouch. I have pictures of that.

I’m sorry, BH. I just think this is a great idea that should be done with a little more attention to class and detail and results. The number of people in attendance clearly demonstrated that there is an appetite for this type of event right there on Rodeo Drive.

Come on, Beverly Hills, you can do much MUCH better than this.

That said, please enjoy the pictures.

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Leica M7, Zeiss 50mm Sonnar f1.5, Kodak Ultra 800

LEICA M7, 35mm Summicron-M 2.0 ASPH

Leica M7, 35mm Sumicron 2.0 ASPH

Leica M7, Zeiss 50mm Sonnar f1.5

Click on these last two shots for larger versions.

Leica M7, Zeiss 50mm Sonnar f1.5

Film Again! Sparks Media Day Shot with Leica M7, 50’lux, Kodak 800

Girls on Film

A New Leica M-E is Coming! Happy Dance (and a bit of a confession from me…)

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Some of the images in this post were made with a Leica M7 and Fujifilm 400 and some were made with a Leica M-E. This isn’t a test or a game. They’re just so wonderfully close and that result is so typical of the M-E that I thought I’d sweeten this news with a graphic demonstration of why I’m so happy with the Leica M-E and the news that follows.

Incredibly excited beyond any words today to hear this. Please click on the link at the bottom to the great Leica News & Rumors blog for more info.

But I have to say, one reason I’m so happy to hear this is that I can now really open up about how happy I am with the Leica M-E. And the selfish reason I didn’t do that to the extent that I wanted to is because my understanding is that Leica was discontinuing production of the M-E and that the CCD based Leica would be no more. Thus stock would dwindle and I might not ever get my hands on a new replacement let alone the half dozen I dream of having in rotation when I get back in the game of making money with a camera. I love this camera. I’m incredibly excited to hear that it will live on. As should be every single photographer on this planet.

Because this is a camera. Plain and simple. (Reminds me of the line from Julius Caesar spoken by Marc Antony over the slain leader’s dead body. Something like, “Here lies a Caesar. When comes such another?”) That’s how good of a picture taking image making machine is this Leica CCD camera and now we know when comes such another. Simple. Incredible. Film-like results. Film like ISO performance which, given the glass you can place on the thing, is and always has been plenty adequate. Anyway, as we used to say back in the 80s here in LA, I’m fucking stoked!

If this rumor is correct, this would be a clever move from Leica since many people prefer the specific look of the photos taken with the 18MP CCD sensor.

via Leica rumored to announce a M-E camera replacement | Leica News & Rumors.

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Angelinos en película

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Memorial Day

This is a repost of the very first real blog entry (after Hello World!) on this website back in 2012. I was in a very bad place at that time. My best friend was dying. I was not good with that. I was in one of those places where a person has no patience for the simpering superficial bullshit people tell each other mostly to make themselves feel better about themselves.

And although I feel strongly (always) about the message of this post, I didn’t repost it last Memorial Day. I was probably in a better mood. This year, with Memorial Day coming so closely on the heels of yet another gut wrenching domestic gun tragedy, happening this time here in my own back yard, and given everything else I see on the streets and read in the newspaper, I’m once again in a dark and unforgiving mood about my country. So fuck it.

Robert Frank’s ‘The Americans’ exposed much of the truth about America. We might have looked at that work and been properly shamed and sought to make a course correction. But we didn’t do that. Anyway. Enjoy this holiday. Don’t thank our troops. Remember instead the dead ones, and their wives, and their children, and their mothers, and their fathers. And forgive me for encroaching into sanctimonious behavior with a self-righteous attitude. I have no room to talk. It’s taken me over half a century to finally wake up.

Memorial Day 2012

Cookouts! Barbecue. Hot dogs and hamburgers. Beer. Friends and family. Unofficial start of summer. Hell yeah! That’s what Memorial Day is all about. Oh and, of course, the Memorial Day sale at Macy’s. Right?

Then there’s those people who try to remind you of the more sober aspects of the holiday. Sanctimoniously thanking ‘our’ soldiers. Does that really stick with you or are they just as annoying as the people at Christmas telling us all to remember the spirit of Christmas and that Christ ‘our’ savior was born on Christmas Day?

So they had this event down at a new memorial in Irvine for service men and women who died in Iraq and Afghanistan. I saw it on the 11 o’clock news. The Northwood Gratitude and Honor Memorial looks really nice and is said to be the first of its kind in the country honoring those who have fallen in the wars on terrorism we’ve been fighting for the last eleven or so years.

But they’ve got this open mic thing going. And the wives and mothers of those who were killed in Iraq and Afghanistan come up to the mic and, if you didn’t see it, I’m telling you these women are just fucking raw. All are emotional but more than a few can barely get their words out; they’re just dying up there.

Blubbering women. Most of them young enough to be my daughter, if I’d had one. Talking about what they feel on Memorial Day.

While these women are stepping up to the mic, one at a time, to tell you the names of their husbands and sons and what happened to them – as best as they can between the sniveling and gasping and choked-off words – all over this country, millions of Americans are getting drunk, washing down burgers with Bud Lite, laughing the day away talking easily about everything that careless partying Americans talk about on a summer holiday together. Most Americans are having a good time, a welcome day off from work, celebrating the start of summer and vacation time – which is and always has been the real point of Memorial Day in our culture.

A really young woman steps up to the mic in Irvine. Her two hands are in a wrestling match with each other as she speaks.

“My name is Brooke Singer and my husband was killed in January.”

Brooke looks to be about 22. She’s wearing a pretty black dress with nickle-sized white polka dots and spaghetti straps that cut into the soft skin of her shoulders. She seems to have more to say but after that one solitary sentence she puts the back of her right hand to her face and unsuccessfully tries to stifle a sob. That hand has a mind of its own and, almost to conceal the degree to which it is shaking, Brooke drops it momentarily but then quickly raises it back again to cover her mouth, which is contorted in a way she’d obviously rather the entire world doesn’t see.

A girl who looks like she could be Brooke’s younger sister stands helplessly to her left. A woman who must be her mother puts her arm on Brooke’s back and whispers something into her ear.

If you need to be told at this point that Memorial Day isn’t about cookouts and really good shopping then I don’t know what to say to you except that you’re not alone. Not in my America.

But if you still think it’s about thanking ‘our’ soldiers and telling them how much we love them and appreciate what they’re doing for us then you really need to either wake up or grow up or maybe just look up the word ‘memorial’ in a dictionary.

If this country can ever find its soul again it will be on some hopefully not-too-distant Memorial Day. One day when enough Americans are finally able to look squarely and, maybe more than anything else, responsibly, at young women who can barely breathe as they muster the courage to stand in front of a microphone in a public square and choke out the names of their dead husbands.

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Film images made with a Leica M7 and 50mm 2.0 Leica Summicron lens.

T-Max 3200 at Beverly Hills Fashion’s Night Out 2011

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Syrian Protest in Los Angeles

Love seeing those who hail from these beleaguered nations where their friends and family are living under murderous regimes enjoying the freedom we have in the US to protest those situations. M7, 35mm Summicron 2.0 ASPH, Walgreens 200.

Originally published here in November 2012 but after reading a recent article on the atrocities the regime in Syria has perpetrated against children, I think unheard of in any of our lifetimes, I wanted to repost these images as a reminder of the continuing hell that is Syria.

Pictures of a Bus Stop

I think images should require something from the person who is looking upon them. A photograph doesn’t or shouldn’t have to be obvious in order to be something that holds some value. I think this image could be taken as an example of that. I don’t want to say much more about the picture itself. It either makes a statement to you or it doesn’t. It made a statement to me.

Now it has a sequel. The top image was shot almost a year ago and was taken with the Zeiss 50mm Sonnar 1.5. I think the color representation of that lens is evident in the image. That lens is just stellar and classic. The second image, the one at the bottom of this post, was taken with the Leica 50mm Summilux 1.4 ASPH, and I think the color signature of that lens is also amazingly evident in this shot.

I call the color I get from my 50’lux ‘comic book color’ and I mean that as a high compliment, although some people have taken issue with that characterization. I think you can see what I mean by that description, however, by looking at this image in comparison to the Zeiss image.

The 50’lux  does the most stunning job of slapping an abundance of the primary colors all over the film plane. I love it. I’m addicted to it. I’ve never seen anything like it. And I couldn’t live without it at this point. 😉

Both were taken with (shhhh!) Walgreens 400 ISO film. Light was much different, though. The first image was taken in sunlight, and the second was taken after the sun was down behind the buildings. Aperture opens up and everything here in Los Angeles at that time is bathed in a fantastic blue glow, I’ve always imagined because of the close proximity of the mighty Pacific.

My plan is to shoot more images like this that are attempting to make statements (even if only to me) that express the humanity of my subjects and hint at some of the complexities of their lives and their predicaments and the costs of their struggles as shown on their faces.

There are so many cliches surrounding the largely Mexican American immigrant base in California and the United States.

I’m not expressing a political perspective with what I hope to be an ongoing photographic project. But the Hispanic population, their families, their contributions, and their various ‘roles’ in what makes up Los Angeles is so complex that the cliches and the level of understanding around the country of their presence here amounts to an affront to true cultural understanding.

Being Mexican in Los Angeles, or El Salvadorian or Guatemalan, be it as an illegal or as a someone born of legal immigrants, with rare exception, is to live a life that makes you collectively part of the cheap labor engine that enables so many of the rest of us here to live crisp clean unburdened lives. Los Angeles is a story that is built, not just historically, but every single day, upon the labor of this population base.

There is a flip side to this story, of course, which is the effect that having such a massive cheap labor population base made up of one ethnicity has on other, even American-born, ethnicities. But these pictures can only tell the story that they tell, and it is, I think, an important one to tell.

Thanks for looking, and long live FILM.

WNBA Star, Jamba Juice Tackle Childhood Obesity

Comes the news the last few weeks that Los Angeles is probably going to lose its WNBA franchise, the mighty LA Sparks. This is an emotional time for me and a lot of people I (kind of) know. I covered the Sparks as both a photographer and as a reporter for many years. For four years (at least) the franchise gave me the privilege of being a media voter on the league’s end-of-season awards like Most Value Player, Coach of the Year, etc. I’ve followed the league from day one. Anyway. It’s a big blow. I devoted a ton of my time to WNBA basketball and the Sparks.

The WNBA is active in the community and especially focuses its efforts on the very young and impressionable. One special afternoon that took us to the Boys and Girls Club of Santa Monica and with no digital camera to use I had to settle for my Leica M7 and M6 TTL, with the 50mm Summilux 1.4 ASPH and the 35mm Summicron 2.0 ASPH. I used Kodak 800 speed color (obviously) film and here were my keepers.

50'Lux

Attended an event at the Boys and Girls Club of Santa Monica co-sponsered by the WNBA and Jamba Juice.

Talked to Los Angeles Sparks guard Alana Beard about what they hoped to accomplish in their combined efforts to impact the national epidemic of childhood obesity.

Grabbed a lot of shots with my Leica M7 and M6, the Leica 50mm Summilux 1.4 ASPH and incredibly useful Leica 35mm Summicron 2.0 ASPH. All shot with Kodak 800.

And the kids. I broke a record for sweating I’m sure. There was a guy following me around with a mop. Hope the pictures are okay.

View original post

Pretty Shabby Chic: Fashion’s Night Out 2011 in Beverly Hills

Reposting an old entry from last year for all my new beauty and fashion followers.

50'Lux

Getting back to some Leica photography. The date has been announced for the annual Fashion’s Night Out 2012 and it is September 6th.

Sooo… this entry today here at 50lux.com has a triple purpose.

First, I would like to give Leica and other lowlight shooters a heads-up to the coming FNO extravaganza, Vogue Magazine’s world-wide phenomena and to let you all know that this very impressive event is probably coming to a city somewhere near you.

It’s an incredible opportunity to get out and photograph great style and beauty and all in the vibrant colors and exact low-light conditions where our super-fast Leica glass really shows its stuff.

Second, of course, I want to showcase my own humble efforts in that regard from last year. All the images you see here were shot on film, with my trusty M7. Mostly with a Zeiss 50mm Sonnar f1.5 mounted, but there’s more…

View original post 541 more words

WNBA Star, Jamba Juice Tackle Childhood Obesity

Attended an event at the Boys and Girls Club of Santa Monica co-sponsered by the WNBA and Jamba Juice.

Talked to Los Angeles Sparks guard Alana Beard about what they hoped to accomplish in their combined efforts to impact the national epidemic of childhood obesity.

Grabbed a lot of shots with my Leica M7 and M6, the Leica 50mm Summilux 1.4 ASPH and incredibly useful Leica 35mm Summicron 2.0 ASPH. All shot with Kodak 800.

And the kids. I broke a record for sweating I’m sure. There was a guy following me around with a mop. Hope the pictures are okay.

Tonight is Fashion’s Night Out 2012 in Beverly Hills

I’ll be there shooting 400 and 800 speed color film. Hope to have a lot of great images in a few days. Here are a couple from last year’s event.

Slivers of Quirk and Light

There is a fairly famous street/fine art photographer whose style is images with mostly shadow area and only sunlight to illuminate his subject’s profound humanity as displayed on their faces. His name escapes me as I write this but I think he would certainly qualify as a king in the world of those who stalk the light.

I didn’t know about his work over the many years when I would employ a similar solution to the difficult light here in the city of Los Angeles. The profundity of it all only became apparent to me after the fact, I have to admit.

I’m very often looking for some revealing expression on the face of subjects on the street. Something that reveals what I may see that someone else might not see that I can maybe photograph as proof or evidence that it exists. But somehow the combination of this natural spotlight on the faces of subjects combined with some moment of human vulnerability revealed on those faces seems to me to be over the top. It works great for this other photographer, but it wouldn’t feel right to me.

I find it works better for me in order to isolate a person or group but more from a distance where it may be something about their posture or circumstance or a gesture that I find interesting. I don’t have a lot to say about this all right now. But I hope the pictures have something to say to you.

These are all shot on film. Leica M7 with either the Zeiss 50 1.5 Sonnar or the Leica 35 2.0 Summicron ASPH

Thanks for looking.

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Keepin’ it Real

Downtown Los Angeles on a glaring Saturday morning this spring. Leica M7, Walgreens 200.

The First Roll of Film Put Through My Leica M7

Back in mid-2010 and it was Ektar 100 and I didn’t know what the heck I was doing with a Leica rangefinder. The setting was beautiful and I hope that comes through in these humble offerings. But it was contrasty and I knew Ektar is kind of contrasty and that my 50mm 2.0 Summicron is contrasty and this is the first roll of film I’d shot in almost two decades. I had very little confidence that I was getting anything but blown highlights and shadow with detail. It wasn’t that bad, however. I should have been concentrating a little more on composition and using the attributes of the lens. Oh well. I still like them.

How About Something Non-Controversial for a Change?

Two shots of light coming through the trees reflecting off the creek that runs through the Muir Woods National Monument in the San Francisco Bay area. Leica M7 with the 50mm Summilux 1.4 ASPH and Walgreens 200 film.

The obligatory daily greenish quirky LA street character shot…

The Road to Somewhere Else

“I think it pisses God off when you walk by the color purple in a field and don’t notice it.” – ‘Shug’ Avery in The Color Purple by Alice Walker

(Originally published on stevehuffphoto.com – July 2011. Feels appropriate for another blistering July.)

I-15, the highway to and from Las Vegas, is traveled by an endless caravan of Southern Californians every year, alternately speeding and crawling their way to Sin City to pass the hours into weekends throwing money away in smoky casinos. With the disposable income gone and the pool parties over, the line of cars moving back through the desert to Los Angeles is most impressive in the sheer single-minded execution of its purpose. Eyes fixed (we can only hope) on the road ahead, it’s pretty clear that everyone just wants to get home.

The setting of this perpetual movement of cars and people is what calls to mind The Color Purple thought quoted above. More on that setting in a second.

But first, does God really get pissed off when we pass by the color purple without noticing? For an athe-nostic like me, the question would go more like this: if nature has created something spectacular to behold, what does it say about us if we routinely pass by it all with our eyes squarely focused on the road ahead, our perspectives blinkered by our desire to simply get someplace else?

Whether it’s an angry God watching down on us or the collective guilt of too few of us, given the sheer magnitude of both the transgression and the number of souls involved, the 270-mile drive between Las Vegas and Los Angeles — through the Cajon pass and over the Mojave Desert — would surely amount to something of a worst-case-scenario for someone as thoughtful about such things as the fictional Suge Avery.

The vast empty expanse of the high desert alone has a visual silence that borders on the metaphysical. One turn of the head and the eye takes in endless vistas completely absent the presence of humans. Appropriately miniscule in scale, the only people to be found are contained in the narrow band of highway snaking through the midst of a truly timeless landscape.

Drivers blow through the desert as fast as they can. Except for a few small towns, there’s only a smattering of rest areas along the way and the occasional supersized gas stations. With nothing really for hundreds of miles but great scenery, it would be difficult for anyone inclined to deviate from the beeline of automobiles to actually do so.

We take the drive ourselves just about every year, always in the winter or late spring. There’s usually weather off in the distance and sometimes we run right into it. We stop occasionally at one of the rest areas for 10 minutes or so, in a hurry, like everyone else. There’s a wind that seems to live at those huge gas stations that can’t in good conscience be called a breeze and, while the cold smack of it after two hours on the road is exhilarating, it always feels really good to get back in the car.

There were the familiar clouds, rain, even thunder, and snow on the ground in the mountain passes, but this time driving through the higher altitudes there was the disorienting sight of even more ominous looking clouds lying in the valleys far below the highway. There was sunshine, maybe mostly sunshine and, of course, the wind. Not surprisingly the air smells like desert and I guess to recall the old vent windows in cars from my childhood, I like to open my driver’s side glass just a crack to hear the whistle of the wind as I drive.

Maybe it’s too much of the things we did back in the seventies, but my imagination plays in the flat desert and hills there in the wide panorama shot. I’d like to hire a helicopter and tell the pilot to set down in the hills underneath the clouds in the left part of the image, get out, take pictures for a while, breathing in the desert, then point to a sun-drenched valley in the distance and say, “Okay, let’s go over there.”

I’m not a natural scenery shooter and I think the snapshots presented here will attest to that. I hesitate to add that the Leica M system of cameras is said not to be well-suited for landscape photography. The hesitation is because the M7 was more than adequate given my capabilities.

I hope these shots from the California high desert find you in a place and time where you can take notice of its incredible beauty. With most of the country sweltering in a mid-July heat wave it would be wonderful if this article even briefly transports some of you to the brisk springtime captured in the photographs here. If you try, you just might hear the wind whistling at my car window and imagine for a moment the cold desert air in your face.

Remember, God may be watching. Personally, I don’t think so, but I’ve been wrong before and these shots and this piece amount to my own personal penance just in case.

All the images taken with a Leica M7, Voigtlander Nokton Classic 40mm 1.4, and Kodak Portra 160 VC.

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Fashion’s Night Out Beverly Hills 2011: T-MAX P3200

Leica M7, Zeiss 50 Sonnar 1.5, T-MAX P3200 (click for larger version)

Nothing much to say here. Just a slideshow from a couple of rolls of this very fast and grainy film. I liked it. I just didn’t really have the easiest time scanning it. Actually shooting it was also something to get used to as well. Would have to get used to it and think about shooting it much differently than I did.