As mentioned previously (here, here, and here), the Pentax Espio 35-70 AF Zoom is a fully automatic camera. I’ve cursed some of its automation in those earlier articles, but if you make some peace with it, accept (and understand its limitations) and just shoot, you can make some pictures with it. In fact, I think …
Continue reading “Return of the Espio Returns (2): fully automated”
Two of these were shot at a roadside picnic area on the way back from Kerrville with the 50mm f/1.8 E Series. Two were shot with the new-to-me 75-150mm E Series. And the last… well I’m not sure what I shot that with. It depends, really, on where I shot it. I think I shot …
or don’t. To be honest, I’ve grown a bit tired of pun-type street photography, but I recognize the impulse to shoot contradictory signage and whatnot. Ah, the sweet taste of internal contradiction.
I think the blur on the right side of the frame is due to film curl, and not to the lens… I think this was shot with a new copy of the Nikon 75-150 E-Series that I picked up for a song around the time I bought the FG. It, like the camera, is an …
Natural grain is to simulated grain/digital noise as nature is to manmade.
The office park at sunrise… sunrise makes everything beautiful. Or maybe it’s photography itself. This was one of Sontag’s critiques, if I recall… “…the camera’s ability to transform reality into something beautiful derives from its relative weakness as a means of conveying truth.” — James Cockroft (@jam_esc) January 1, 2015 And I do, thanks to …
So the LC-A got his turn last week, it seems unfair to leave out the FG. And this time, a full 5 days. I promise.
