Fast forwards to the 1920 the first ham factories were established: the domestic cellar was transformed into the centre of a true autonomous production activity. At the end of the 40s, the ham factory had become an industry, and from the 60s its development resulted in some of the production companies contributing to the formation of the national and international prosciutto crudo market.
It has happened to me a couple of times covering bad weather in Scotland, to friends and colleagues, even a couple of days ago to one of my Venetian colleague.
Your precious camera meets the water…either in the form of a big splash or heavy torrential rain.
I have managed to recovered my cameras at least 2 times and I have strictly used the following method
- As soon as it happen switch off the camera, remove the battery, remove memory card, I would say this is the most important action.
- Do NOT turn the camera on ever….you may risk to short circuit important parts
- As soon as you can, make sure there are no traces of moisture visible on the camera.
- Find a container big enough to hold the camera and a couple of bags or more of rice (Yes RICE)
- can be a Tupperware container, half fill it with rice and then place the dead camera body on top of the rice with the mirror facing down.
- pour more rice on top of the camera until it is completely covered with about 1 inch of rice above the top of the camera body
- placed a tightly fitted lid on the container and place it a dry cupboard for at least one week.
After about a week of drying out in the hermetically sealed rice box you should be able to switch on the camera and scroll through all the menus..,.. if this is the case I would place the camera again in the rice for 4 or 5 days or leave it near but not too close to a radiator.
Former fleet street legendary picture editor Ron Morgans has just posted a quote from the well respected legendary Editor Sir David English. Roy Greenslade take note:
Here’s what the late, great Sir David English, who created the modern Daily Mail, had to say about newspaper photographers.
” Press photographers are a strange breed. Moody, enthusiastic, temperamental, excitable, humorous, self-deprecating . They are in many ways the most interesting collection of people to be found on any national newspaper. More interesting frequently than the star bylined writers. More interesting than the gossip columnists with their fund of inside chatter. More interesting even than the showbiz kings with their stories of rubbing shoulders with the great and their `all life´s a cocktail party´ philosophy. Photographers are the shock troops of journalism. They cannot muse. They cannot pontificate. They cannot sit in the office and get their stories by telephone. Nor do they pick up their scoops over lunch. They have to be where the action is. They have to be there! ”
This year one of the most important exhibitions in London at the National Gallery will be a tribute to 1500 Italian painter “Veronese”
Paolo Caliari was born in Verona – hence ‘Veronese’ – and moved to Venice in the early 1550s, where he became one of the leading painters of the 16th century.
He was trained in Verona by the local painter Antonio Badile, whose daughter he married in 1566. In Venice the colouring of Titian influenced him deeply. Tintoretto was also an influence, and an attraction to Mannerism shows in works such as ‘The Consecration of Saint Nicholas’. However, Veronese went on to develop his own more decorative style.
In 1573 the Inquisition took exception to some irreverent detail in a Last Supper by Veronese. In a fascinating exchange with the Inquisitors he defended the painter’s right to ‘take the same licence as poets and jesters take’. He eventually changed the title of the picture to ‘Supper in the House of Levi’, rather than change the picture itself.
Throughout the 1560s and 70s Veronese produced mythological pictures for an international clientele, including two paintings bought for Philip IV by Velázquez on one of his Italian visits.
Veronese ran a large workshop, assisted by his brother Benedetto and his sons Carlo and Gabriel. They carried on his studio after his death.
An hidden treasure of Venetian art in the heart of Dorsoduro, this otherwise humble neighbourhood church was embellished with floor-to-ceiling masterpieces by Paolo Veronese over three decades. Antonio Scarpignano’s relatively austere 1508–48 facade creates a sense of false modesty from the outside, because inside, the restored interior decor goes wild.
According to popular local legend, Veronese found sanctuary at San Sebastian in 1555 after fleeing murder charges in Verona, and his works in this church deliver lavish thanks to the parish and an especially brilliant poke in the eye of his accusers. Veronese’s virtuosity is everywhere here, from the horses rearing on the coffered ceiling to organ doors covered with his Presentation of the Virgin . In Veronese’s Martyrdom of Saint Sebastian near the altar, the bound saint defiantly stares down his tormentors amid a Venetian crowd of socialites, turbaned traders and Veronese’s signature frisky spaniel. St Sebastian was the fearless patron saint of Venice’s plague victims, and Veronese suggests that, though sticks and stones may break his bones, Venetian gossip couldn’t kill him.
Pay respects to Veronese, who chose to be buried here underneath his masterpieces – his memorial plaque is to the right of the organ.
..I have specified I TRY to avoid …. ….
- Using more than one lens per day for street photography. I prefer a 35mm or occasionally a 50mm
- Checking the LCD screen after taking photos on the streets (Chimping)
- Letting criticism affect me negatively. Rather, I try to use it to empower me to find weaknesses in my work.
- Leaving the house without a camera
- Spending a lot of time looking at photos online ; rather I spend more time shooting
- Forgetting how lucky I am to be able to go out and take photos everyday
- Mixing my digital and film photos in a project
- Letting the number “likes” dictate whether a photo is good or not
- Taking a photo of someone on the streets without saying “thank you” or smiling at them
- Hesitating before taking a street photograph
- Shooting to please my critics
- Recommending lenses longer than 50mm for street photography
- Making excuses when a photo doesn’t work. It is shit end of the story
- Taking photos without emotion and without your heart
- Uploading photos online until letting it “marinate” for few weeks
+1. Comparing myself to other photographers
I am often asked what settings I use for street photography. First, let’s make sure you have everything you will need, extra batteries and extra memory cards. A fast memory card is essential when shooting raw. …do not forget your camera!
Here are my settings for street shooting:
Auto ISO: 200-3200
Min. Shutter speed limit: 1/125
Focus AF-C mode
Drive Mode S or C: most of the time I am in s mode, c-mode if the situation really calls for it.
While in AF-C mode , always awake/never sleep doesn’t work, keep half pressing the shutter from time to time, especially when you spot a potential shot, make sure the camera is not asleep
Shutter priority at 1/250 or higher in regular light
Optical Hybrid finder vs EVF: depending on the scene, if it is a context or overview shot, OHVF works, however, I found the EVF preferable for precise positioning of the af point since there is no time to reframe/refocus.
Develop a solid grip on your camera, experiment, strap around the neck or wrist strap. Learn to change +- dial with out looking at your camera, the same goes for shutter speed, keep your eyes on the street.
Use your x100s a lot, that’s it!
Today arrived the new firmware for most of the Fuji X series cameras. When you update all the custom settings are wiped out as well as cache memory and frame number
Here are more or less my latest custom settings.
|Name||ISO||Dynamic Range||Film Simulation||White Balance||Colour||Sharpness||Highlight||Shadow||Noise|
|Landscape Normal||200||DR100||Astia (soft)||Auto||-1||+1||-1||-2||0|
|Landscape High Contrast||400||DR200||Astia (soft)||Auto||-1||+1||-1||-2||0|
|Portrait Neutral||200||DR100||Pro-Neg Standard||Auto||0||0||0||0||0|
|Portrait Neutral Higher Contrast||400||DR200||Pro-Neg High||Auto||0||+1||-1||-2||0|
I have set them according to the subjects I tend to shot so I can change a whole group of settings with a push of the “Q” menu button and a quick turn of the dial. Finer tweaks to color and highlight/shadow tone were done from experience of using the camera and the above are what I eventually arrived at after some months of use.
I tend to play quite a bit with Highlight Tome, Sharpness and Shadow Tone so I change them often. For the ISO thee are times when I like to have in AUTO with Standard 200, Max 3200 and min shutter speed at Focal length I am using x1.8
While I like the more saturated colors and higher contrast in Astia (soft) for landscape generally, I found it tended to clip into the shadows too easily so I somewhat reduced the contrast there by making a -2 adjustment.
For portraits the Provia (standard) or Pro-Neg film simulations work well as they are rather neutral and subdued in colour, so render skin tones well. The Pro-Neg Hi gives the same colours but more contrast. I reduced the contrast at the shadow end as I found it was clipping to black too readily.
The dynamic range settings work really well and allow the camera to record more detail in highlights and shadows than in a normal exposure. For the higher DR setting (DR200 is all I have needed) the camera needs to be set to ISO 400 but the sensor/processor is so effective that there is no discernible noise penalty. It isn’t an HDR feature….my understanding is that it works like many other similar features and the camera basically underexposes the image then processes in an exposure and tone curve that avoids clipping at each end.
The Jpeg output is so good on this camera that I shoot Jpeg almost all the time, whereas I only shoot RAW on my Nikon DSLRs. Images from the X-E1 print superbly and have amazing pixel level sharpness. The camera seems to resolve beyond what its 16MP sensor should, probably due to the absence of the anti aliasing filter. Strangely, when 100% images are viewed on a computer monitor, detail can look somewhat mushy due to the unusual colour filter layout of the X-Trans sensor, but images view nicely at normal sizes and print in a very natural way, giving what I would describe as an organic look to textures that look real enough to touch and bitingly sharp.
I shoot all my breaking news and editorial work using a selection of D4, D3s, and D 700 with a wide array of prime lenses all exclusively Nikon F2.8 max. I do not need to say or write anything about these cameras and lenses.
While on news jobs I can be seen carrying a huge amount of gear for any situation I am a strong believer of “one camera and one lens”.
The proponent said that the best way to become more creative in your photography (and less addicted to G.A.S. — gear acquisition syndrome) it to stick often to one camera and one lens. It is one of the worst diseases when it comes to photographers. It causes us photographers to make excuses about our gear – rather than going out and making photographs with what we have. By prescribing to the “one camera and one lens” philosophy I got rid of most of the G.A.S. in my system. Sure, whenever a new camera or a new lens came out I got envious, but I still had an underlying philosophy to stick to.
My favorites are old film cameras and Fuji Mirrorless. Film helps me to relax and concentrate more on composition and creativity
At the moment I own at least four Fuji X Series camera and I am very passionate about them due to their outstanding performances.
My fav. at present is The Fujifilm X-E2 which is a new compact system camera that offers a number of significant improvements on its predecessor, the X-E1. At the heart of the X-E2 is a new 16.3 megapixel APS-C sized X-Trans CMOS II sensor, which has a colour filter array that mimics film grain and no optical low-pass filter for higher resolution images, and a Lens Modulation Optimizer which automatically corrects diffraction blur. The X-E2 also has a 2.36-million-dot electronic viewfinder, 3-inch LCD screen with 1.04 million dots, EXR Processor II, hybrid auto-focus system with fast AF speeds of 0.08 second, 7fps burst shooting, a built-in flash, wi-fi connectivity, in-camera raw conversion, a range of film simulation modes, multiple exposure and panoramic shooting modes, Digital Split Image and Focus Peaking for easier manual focusing, and Full HD video recording capabilities at up to 60fps.
The Fuji X series walk-around cameras that can be adapted for wedding work, editorial work heck, even commercial work.
With these cameras I feel unstoppable. Invincible. I no longer need to carry heavy bulky DSLR around all day – with these cameras I am able to carry an entire kit in a shoulder bag and never tire. With these cameras I rarely miss a photo because I have always have a camera with me.
With these cameras I am stealthy, quick, unobtrusive, silent, a rocket for recording the extraordinary in the mundane of the everyday. My photography changed!
The Leica M3 is perhaps the one camera that does not actually require an introduction. Voted by STUFF Magazine and Ebay as the “Top Gadget of All Time”
The epitome of vintage style, the Leica M3?s modern incarnations are still held as pinnacles of camera design and lusted by photographer all over the world.
Just the fact that since the Leica M3?s introduction 1954, the basic design of Leica M cameras has not really changed is a testament to how well conceived the Leica M3 is. In fact, one could argue that Leica built such a great camera that they haven’t really done much else since.
The Leica MP, introduced in 2003, nearly 50 years after the Leica M3, is just an inferior, and far more expensive, modern copy.The Leica M3 is Leica’s greatest achievement and also a stark reminder of it’s glorious past.