My favorite camera is obviously the Leica, the latest addition to my collection is the M or 240 Type. I shoot most of my portraits, features and reportage using this camera with either the 35 1.4 Summilux or the 50mm 1.5
The Leica M 240 is a digital rangefinder camera with a full-format 24 x 36 mm sensor. As the world’s most compact full-format system camera, the Leica M 240 extends the legendary heritage of the Leica rangefinder M System and unites over 50 years of continuous technical improvements to the system with the best in cutting-edge digital technology.
The Leica M is a digital full-frame 35 mm rangefinder camera. It was introduced by Leica Camera AG in September 2012, and is the successor to the Leica M9 range of cameras. The M uses a 24-megapixel image sensor. The camera is the first M model to feature movie recording, and the first to have Live View—which allows the scene, as seen through the lens, to be composed.The M is compatible with almost all M mount lenses and most R mount lenses (via an adapter). All Leica M cameras are handmade in Portugal and Germany.
The M uses a CMOS 24-megapixel image sensor designed exclusively for Leica by the Belgian company CMOSIS. The sensor contains 6,000 by 4,000 pixels on a 6 x 6 µm² grid, and is made by STMicroelectronics in Grenoble.
The M supports most M-mount lenses, and with an optional R-Adapter, the camera can use almost all Leica R-mount lenses.Live View allows owners of R-lenses to use an optional electronic viewfinder.
The camera uses a MAESTRO image/video processor which is based on the Fujitsu Milbeaut. It has specifically-designed rubber seals (to protect against dust and water spray).
A selection of Venice Osterie where you can get wonderful food for 30Euro or less!
This is a small restaurant with just the owner and his chef. Pleasant, no-frills trattoria on a quiet residential square.
For a taste of tagliata di calimaro (sliced grilled squid) with arugula or pomodorini tomatoes with strawberries and violet artichokes, wend your way up quintessential calli to La Frasca. Far from the maddening San Marco crowds, this tiny eatery nestled on a remote campiello charms before you even taste the seafood sampler of grilled seppie cuttlefish, canoce mantis shrimp, excellent baccalà mantecato, or sarde in saor. Wines are an important part of the meal here; ask for a recommendation from the ample list of predominantly regional selections. With limited indoor seating, La Frasca encloses and heats their outdoor terrace to accommodate winter diners.
Address: Corte de la Carità, Cannaregio 5176, Venice, 30121
Vaporetto: Fondamente Nove
No lunch Mon. and Wed.
Signora Marisa is a culinary legend in Venice, with locals calling up days in advance to ask her to prepare ancient recipes such as risotto con le secoe (risotto made with a cut of beef from around the spine). Pasta dishes include the excellent tagliatelle con sugo di masaro (in duck sauce), while secondi range from tripe to roast stuffed pheasant. In summer, tables spill out from the tiny interior on to the fondamenta. Book well ahead – and remember, serving times are rigid: turn up late and you’ll go hungry. There’s a €15 lunch menu..
fondamenta San Giobbe
Vaporetto Crea or Tre Archi
Telephone 041 720 211
Meals served noon-2.30pm Mon, Wed, Sun; noon-2.30pm, 8-9.15pm Tue, Thur-Sat. Closed Aug
Trattoria Ca’ D’Oro
“This picturesque osteria [informal restaurant or tavern] has a well-stocked cicchetti [small plate] counter plus small tables in the back if you order from the menu.”—Michela Scibilia, author, Venice Osterie. One of the oldest wine bars in the city and also known as Alla Vedova; popular with locals and travelers barhopping along Strada Nova; serves Venetian classics and is famous for its polpette (meatballs).
“One of the ever decreasing number of old-time Venetian osterie.”—Ruth Edenbaum, author, Chow Venice: Savoring the Food and Wine of La Serenissima. This simple, casual restaurant is low-key and local; cicchetti (small plates) up front and tables in back; wines by the glass; menu includes a vegetable antipasta platter, seafood starters like sarde in saor (Venetian-style marinated sardines), and pastas.
If you’re stuck for somewhere to eat after a visit to the Art or Architecture Biennale and are in the mood for cheap and cheerful refuelling, this neighbourhood trattoria-pizzeria, in a residential street that always seems to be festooned with laundry, should fit the bill perfectly. In summer, when they put tables outside in the street, there are few more picturesque dining backdrops in Venice. The pizzas are fine and filling (try the gorgonzola, radicchio and walnut topping), and they also do a good range of Venetian and pan-Italian pasta dishes. This is a good place to come with kids, who can work up an appetite in the play area near the Giardini vaporetto stop. Beware of mixing this up with another nearby namesake restaurant; if you’re in any doubt, ask for ‘Dai Tosi Piccoli’ (Little Dai Tosi).
In summer, when they put tables outside in the street, there are few more picturesque dining backdrops in Venice.
As you walk in the Acqua Alta bookshop you will be greeted by Luigi and one of his cats
Walk in the labyrinth of interconnected rooms, and you will see the full-sized gondola in the middle of the shop, overflowing with books then along to bathtubs filled with books and sleeping cats you will find a doorway leading straight out onto a canal where the water level seems a precarious few centimeters away from spilling into the room. It happened to us to get there in a rainy day and the owner was moving all the books from the floor to bathtubs and shelves because of the danger of high water level!
Keep searching (for books and memorable shots) and you’ll find yourself in a tiny quiet courtyard which hosts a staircase made entirely from books. Climb up to the top for a lovely view onto the Venice canals.
You may feel literally overwhelmed by books. New and old, romance and science fiction, best sellers and b-series novels, you can find anything here if you are patient enough to search. It’s possible that you won’t be able to find any specific books given the bizarre nature of the piles, or you may don’t like the smell of humidity or second hand books, but you should include a visit to Acqua Alta into your Venice tour anyway.
Libreria Acqua Alta Calle Longa Santa Maria Formosa (Campiello Del Tintor) | 5176 – Castello, 30122 Venice, Italy
If you are looking for unusual, rare, incredibly interesting books about Venice a REAL must is
Libreria Editrice Franco Filippi
Castello, Casselleria 5284
In the pre-Roman era, San Daniele del Friuli was an important Celtic settlement, thanks to its special position en route to Northeast Europe. The surrounding area contains the remains of various “castellieri”, the typical Celtic constructions used as watchtowers.
The Celts, a relatively non-migratory people, devoted to agriculture and with minimal warlike tendencies, were the first to use salt to preserve pork, of which they were major consumers. They built the foundations of the extraordinary rural culture which the Romans put to expert use later on.
In the era following that of the Celts, the oldest San Daniele settlement is Roman, from the 1st century AC: a villa positioned right on the summit of the hill.
The Romans were very familiar with ham: evidence of this can be found in the ancient merchants’ road to Rome, the present Via Panisperna, named after “panis” (bread) and “perna” (“perna sicca”: ham), and in a butcher’s memorial stone found in Aquileia (UD), which boasts a Prosciutto di San Daniele complete with trotter.
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 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 ModeS 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.