Photography

Capturing the Chase: Why ISO and Camera Choice Matter Afield There is a distinct magic to a morning spent along the Sporting Road. Whether you are galloping a thoroughbred down a polo field, watching a well-trained bird dog lock onto a point in the crisp autumn brush, or following the fast-paced action of a foxhunt, the world around you suddenly stands still.  As sporting enthusiasts, when we are not participating in these sporting days afield, we often try to use the remainder of our time afield to freeze these fleeting, high-octane moments with a camera.   As my friend Stephen Collector, a lifetime professional photographer and avid sportsman, says, "A frustrating day of fishing can many times be redeemed with a camera." The Myth of "Fixing it in Post" A common misconception in modern digital photography is that ISO is an afterthought or that it's like a bucket setting, as long as you are close enough it doesn't really matter. And, with advanced editing software, it is tempting to think you can shoot at a low ISO to keep your image clean, underexpose the shot in the field, and simply brighten the shadows later on your computer.  If you are shooting sports with a flagship action camera like the Nikon D5, this workflow is a recipe for ruined images.  The Nikon D5 is not an "ISO-invariant" sensor. It is engineered specifically to handle low-light and high-speed action in real-time. If you pull up heavy shadows from an underexposed file shot at a low ISO, you will introduce severe, destructive read noise. To capture the crisp textures of a galloping horse or a bird taking flight, you must get your exposure right in the camera, at the

Leica just announced a new campaign, "The Art of Leica."   Leica had a beautiful announcement from which we excerpted below, which sums up what we love about Leica photography: Photography captures far more than just a moment in time. Every image reveals our true perception of the world. Photography is careful observation of people. It is the patience, attention and respect that we show to every subject. It is about being present while others pass by. It is not relying on observational skills alone. It is having unwavering trust in your imagination. Yet remaining open to whatever happens. Time and time again. Looking more closely than others do.  That is the art of photography.  We invest the same level of care that the Leica community applies to its photography in each of our cameras and lenses: patience, attention to detail and respect for every part of the process. We focus on precision and craftsmanship so that the camera disappears in your hand and your view remains unobstructed. Looking more closely than others do. As Leica looks at making the M12 (which probably won't be called that) as the M has been a rangefinder camera from the start and the 2026 version is probably featuring a hybrid vision system blending a traditional optical rangefinder with electronic viewfinder (EVF) capabilities, along with a completely new sensor, among other "upgrades."   Whether the "new M" is still a rangefinder or not (although it will surely accept M-lenses, otherwise what's the point, might as well just get a Q), is up for debate, and either way there will be complainers and some that are ecstatic about the switch. There is a curious idea in modern life that newer is somehow better.

John Fielder is a legendary Colorado landscape photographer.   We are honored to have collected his shots from Douglas County, Colorado.  He died a few years ago but he was an interesting guy to talk to.  Fielder’s work spans 50 books and hundreds of thousands of photos and helped promote conservation efforts. For his masterworks, John Fielder relied on a Linhof Technika Fieldview camera. He explicitly chose this 4×5 large-format system because the massive size of the film transparencies preserved the extreme, crisp detail crucial for landscape photography.The 7 LensesTo capture varying depths and perspectives of the Rocky Mountains, he attached lenses spanning 75 mm to 500 mm. His toolkit included the following focal lengths:75 mm (Ultra-wide angle)115 mm (Wide angle)150 mm (Standard/Normal perspective)210 mm (Slight telephoto)300 mm (Telephoto)360 mm (Long telephoto)500 mm (Super telephoto).  In all with tripods, etc., his backpack of photography gear weighed over 65 pounds. History Colorado is the proud steward of John Fielder's Colorado Collection, an assortment of more than 6,000 photographs which immortalize the landscapes of nearly every county in the state. This collection represents Fielder's life work and was distilled from the more than 200,000 photographs taken by Fielder over the last 50 years. Donated by Fielder in January 2023, it is now digitized and cataloged by History Colorado to make it easily accessible and searchable by the public. Please see the links below. Since he began photographing Colorado in 1973, Fielder has effectively been to each of Colorado’s 104,984 square miles, compiling a record of the Centennial State's landscape and how it has changed over the past half-century. His photography has been featured in dozens of books, garnered him multiple awards for his service to Colorado and its

This is a great article for the exposure triangle of photography. https://photographylife.com/what-is-exposure-triangle