| Used in: Personal photo web site of Martin Joergensen | 
A worthless image of an orchid
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
|
Another wothless orchid image
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
| 
Orchid with no value at all
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
|
Not much to look at and not worth much money - another orchid shot
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
| 
Nice but not in demand. Detail from an orchid.
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
|
Orchid into the light.
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
| 
An orchid detail
[Nikon D200, Sigma 90mm f2.8 macro, magnifying screw-in lens] |
|
| Used in: Why free can make you money | Used in: Why free can make you money |
Tunesian arcs
[Minilta XM, Minolta MD 24mm f2.8, Kodachrome 64] |
| 
Chalk cliff
[Canon Powershot A80] |
|
Danish coastline
[Canon Powershot A620] |
| 
Four PowerShots in a row. One alive, one reviving, one barely alive and one dead as a rock.
[Nikon D200, 17-55 f2.8 DX] |
|
Like making love in a canoe...
[Nikon D200, 17-55 f2.8 DX] |
| 
Splash! If you want to get shots like this one (sans the drops, of course), you need to be in the water with all the hazards that entails.
[Minolta Dynax 7D, Sigma 15mm f2.8 fisheye] |
|
Dances With Shrimp. A Canon PowerShot A80 in its right element... not!
[Pentax Optio W20] |
| 
A low stance in waves will certainly endanger your camera. In this case a D200 with a 70-200 VR, which was used for the shot. The water was splashing as much around me as around the angler...
[Nikon D200, 70-200mm f2.8 VR] |
|
Draining coffee from a PowerShot A80. It survived with grace
[Minolta Dynax 7D, Vivitar 19-35mm] |
| 
Once the camera has been under you need to quickly dry it out as thoroughly as possible.
[Nikon D200, 17-55 f2.8 DX] |
|
Yes, a PowerShot can survive this! I have had several that took more than one dive in saltwater and took pictures after drying up
[Nikon D200, 17-55 f2.8 DX, flash] |
| 
If you want real protection you need an underwater house, a real waterproof camera or something in the D200 league.
[Nikon D200, Henning Eskol photo] |
|
What a Canon A80 can do with a little care
[Canon PowerShot A80, fill flash] |
| 
The image that inspired the top bar color of the site. A good example of what can be obtained right out of the camera under the right conditions. This was shot with the Minolta 7D in a low jpg-resolution and not manipulated in any way.
[Dynax 7, Tokina 100-300 f4] |
|
Cat resting. Notice the details around the cats eyes while the background is still out of focus in a very nice way.
[Dynax 7D, Minolta 70-210 mm f4, HS5600 flash] |
| 
Tree trunks
[Dynax 7D, Minolta 70-210mm f4] |
|
A picture taken with the built-in flash. Notice the nasty shadow in the lower part of the image. Its the lens itself that creates it.
[Nikon D200, 17-55 f2.8 DX, built-in flash] |
| 
Cross-light on a sunny day. The flash was held low to the left. The sun was high to the right.
[Nikon D200, 17-55 f2.8 DX, remote flash] |
|
This shot shows the far-off-camera flash in action. The flash is placed far back to the left and gives a light not unlike daylight from a window. The picture is actually shot at night.
[Nikon D200, 17-55 f2.8 DX, remote flash] |
| 
The Nikon SG3-IR infrared filter mounts in front of the built in flash in order to remove its effect on the final image.
[Canon Powershot A630] |
|
Far-off-camera flash, here with the flash bouncing off the wall to the far left, and was placed close to an existing lamp.
[Nikon D200, 17-55 f2.8 DX, remote flash] |
| 
You never get enough SB800s. Even though I look happy, these arent all mine... unfortunately.
[Henning Eskol photo, D200, Nikkor 17-55mm f2.8, 4xSB800] |
|
An example of the results I get from my small table top light tent (made from an old television cardboard box and some tissue paper) and one SB-800 flash triggered remotely.
[Nikon D200, Sigma 90mm f2.8 macro, remote flash] |
| 
The softbox in action with a D200. The SB-800 mounted with the home made diffuser is triggered wirelessly. |
|
One of the first test shots with the small softbox.
[Nikon D200, SB-800 triggered wirelessly] |
| 
Same flower lit from the left
[Nikon D200, SB-800 triggered wirelessly] |
|
Fill flash used with slow rear sync
[Nikon D200, Nikkor 18-70mm f3.5-4.5, SB-800 flash] |
| 
Fly fishing with slow rear flash sync. The camera is held low, the diffused flash is held high.
[D200, Sigma 10-20mm, SB800] |
|
Fixing the fly rods before going out. Lit with two remotely triggered SB800s using Nikons CLS-system.
[D200, Sigma 10-20mm, 2xSB800] |
| 
Fishing rod in perspective
[Nikon D200, Nikkor 18-70, f3.5-4.5G ED] |
|
Alley leading up to a castle in Copenhagen
[Nikon D200, Nikkor 18-70, f3.5-4.5G ED] |
| 
Night shot of a petroleum plant. Stacked from four bracketed images.
[Nikon D200, Nikkor 18-70, f3.5-4.5G ED] |
|
Reeds on the beach. Shot with flash and slow sync.
[Nikon D200, Nikkor 18-70, f3.5-4.5G ED, SB-800 Flash] |
| 
A duck hunters boat
[Nikon D200, 18-200 VR] |
|
Winter windmills
[Dynax 7D, Sigma 90mm, f2.8 macro] |
| 
An old self portrait of me and my XM. The camera is seen with the vertical finder and my trusty Braun flash.
[Martin Joergensen] |
|
The battered AE finder from my Minolta XM |
| 
The vertical viewer as seen on the picture in the beginning of the article |
|
Mast and ropes
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
| 
Close to sand and saltwater
[Canon Powershot A80] |
|
Image number 12,219 shot with my D200. The perfect dust test, and there is none...
[Nikon D200, 70-200 VR] |
| 
Myself holding the Nikon 85mm f1.8. See what I mean about a large hole...?
[Nikon D200, photo Henning Eskol] |
|
Chrome fences
[Nikon D200, Nikon 85mm f1.8] |
| 
The closest I have come to a real portrait with the 85mm: our Shetland sheepdog Divus
[Nikon D200, Nikon 85mm f1.8] |
|
Bird houses
[Dynax 7D, Tokina 100-300mm f4] |
| 
The image used for the examples below. The red rectangle marks the used area, which is only a few hundred pixels on each side.
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
|
A small part of the unmodified RAW original for the above image. Notice that it is an image consisting of RGB-pixels and not the real colors from the scene.
At 800% each pixel, representing a sensor dot, is visible as a red, green or blue square.
Click to switch between article and full sample. |
| 
The converted but otherwise unmodified sample of the same picture. Each RAW RGB-pixel has been converted into a pixel with a real color based on its intensity, its neighboors colors and some intricate algorithms. A TIFF- or Photoshop-file will conserve all these pixels exactly as seen here.
Click to switch between article and full sample. |
|
The JPG-representation of the same sample, on purpose saved with a lot of loss (very compressed). Notice how the system has chunked the image into squares and how each square is almost correct, but not quite. Detail and precision has been lost in the process, but the file has become significantly smaller.
The naked eye will usually not be able to see the deterioration, but this 800% enlargement shows it clearly.
Click to switch between article and full sample. |
| 
Clear Norwegian mountain lake
[Dynax 7, Vivitar 19-35mm f3.5-4.5, Provia 100] |
|
Rear deck on a ferry
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
| 
Great urban landscape: mountain lake (a puddle), bush in the foreground (a shooping cart) and a ridge of mountains (an office building) against the sky.
[Nikon D200, Nikkor 18-200 f3.5-5.6 VR] |
|
Reflections in a harbour basin
[Nikon D200, Nikkor 18-200 f3.5-5.6 VR] |
| 
A real landscape — just to set things straight. From the Rockies, CO
[Minolta Dynax 7, Sigma 24-70mm f2.8, Provia 100] |
|
Behinds
[Dynax 7D, Tokina 100-300mm f4] |
| 
Night shot
[Dynax 7D, Sigma 15mm, f2.8 fisheye] |
|
Denver International Airport on a September day
[Dynax 7, Sigma 24-70mm f2.8, Provia 100] |
| 
Kitesurfer at full speed. A nice subject to shoot with a good frame rate
[Minolta Dynax 7D, Tokina 100-300mm f4] |
|
Pictures like this one can typically be picked out of a series taken with high speed. But a steady trigger finger can often do the same
[Minolta Dynax 7D, Tokina 100-300mm f4] |
| 
This image of a kitesurfer was taken from a series of seven taken at max frame rate while the surfer was passing.
[Minolta Dynax 7D, Tokina 100-300mm f4] |
|
Shallow water in Mexico
[Dynax 7, Vivitar 19-35, f4.5-5.6, Provia 100, Nikon LS-2000 scanner] |
| 
Office buildings seen from above
[Dynax 7, Minolta 70-210mm f4, Provia 100] |
|
Winter strawberries
[Dynax 7, Sigma 24-70mm f2.8, Provia 100, HS-5600 flash, Nikon LS-2000 scanner] |
| 
Downtown Denver
[Dynax 7, Sigma 24-70 f2.8, Provia 100] |
|
Fishing in Colorado
[Dynax 7, Sigma 24-70 f2.8, Provia 100] |
| 
A detail shot with the Sigma 24-70 at 70mm
[Minolta Dynax 7D, Sigma 24-70mm f2.8] |
|
Two men on a (very) small island
[Nikon D200, 17-55 f2.8 DX] |
| 
Resting by the water during a fishing trip
[Nikon D200, 70-200mm f2.8 VR] |
|
Troels the cat from a frogs perspective
[Nikon D200, 17-55 f2.8 DX] |
| Used in: The feeling of pro glass |
Springtime bud
[Nikon D200, 70-200mm f2.8 VR] |
| 
Rough environment. These lenses see sand, salt-water, dust, rain and much more.
[Canon Powershot A620] |
|
Swans shot in flight with the 18-200 at full zoom. Not a bad job at all. You may also notice some vignetting, particularly in the top left-hand corner
[Nikon D200, Nikkor 18-200 f3.5-4.5 VR] |
| 
This is the whole scene shot at 18mm. It has been rotated a bit to save the slanting horizon and then cropped a few percent before scaling down.
[Nikon D200, Nikkor 18-200 f3.5-5.6 VR] |
|
Warehouse and sky
[Nikon CoolPix 775] |
| 
Misty fjord in Norway
[Dynax 7, Vivitar 19-35mm f3.5-4.5, Provia 100] |
|
Self portrait in the midnight sun — or rather the half-past-ten-in-the-evening-sun
[Dynax 7, Vivitar 19-35mm f3.5-4.5, Provia 100] |
| 
Waterscape and chalk cliff
[Dynax 7, Vivitar 19-35, f4.5-5.6, Provia 100] |
|
Converted from color, originally shot in color with a fill flash.
[Canon PowerShot A80, fill flash] |
| 
Blue sky and white clouds usually convert well. Originally shot in color.
[Canon Powershot A80] |
|
Contrast is mostly beneficial in B/W pictures, and it sometimes pays to enhance it even further in the conversion process. Originally shot in color with a 2 megapixels camera.
[Nikon CoolPix 775] |
| 
This is a slide, scanned in color and manually converted to B/W using the channel mixer in Photoshop
[Minolta Dynax 7, Vivitar 19-35mm, Provia 100] |
|
A Nikon D200 image converted manually and enhanced using Photoshop levels
[Nikon D200, 18-200 VR] |
| 
Fence
[Dynax 7D, Sigma 90mm, f2.8 macro] |
|
Plants and water
[Dynax 7D, Sigma 90mm f2.8 macro] |
| 
Aquarium
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
|
Girlfriend and dog
[Dynax 7D, Sigma 24-70mm f2.8] |
| 
Berries in the autumn
[Dynax 7D, Minolta 75-300 f4.5-5.6] |
|
London Bridge
[Dynax 7D, Minolta 70-210 mm f4] |
| 
Cat statue in window
[Dynax 7D, Cosina 28-80 f3.5-5.6] |
|
Cat statue in window
[Dynax 7D, Sigma 24-70mm f2.8] |
| 
Cat statue in window
[Dynax 7D, Sigma 90mm f2.8] |
|
This was shot because of the colors. Its blurred and not exactly beautiful, but the colors of this scene... whoa!
[Canon PowerShot A80] |
| 
Leftovers. Shot in a BC hotel lobby while leaving the hotel
[Canon PowerShot A80] |
|
Skaters shadows shot with the 2 megapixels CoolPix 775
[Nikon CoolPix 775] |
| 
Bridge, ships, sky ahot with Canon Powershot A80
[Canon Powershot A80] |
|
My family in the tube
[Dynax 7D, Vivitar 19-35 mm f3.5-4.5] |
| 
Garden perspective taken with a fisheye and not corrected for curved lines
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
|
Hotel lobby shot with 15mm fisheye. Pictures from this lens can be straightned out with a tool such as PTlens, but I actually like the curves.
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
| 
Looking for a fishing fly
[Dynax 7D, Sigma 90mm f2.8 macro] |
|
Basket weave chairs in Brussels cafè. I took about 10 pictures of these chairs. This was the best one, but I kept them all anyway.
[Canon Powershot A80] |
| 
Bike in Brussels. This image was actually in a folder that I had named garbage. Apart from being a bit on the blurred side, its quite a nice picture in my eyes.
[Canon Powershot A80] |
|
You can also choose to utilize the flat light of the built-in flashes to create a special effect like on this picture.
[Canon Powershot A80] |
| 
Tilte the cat in the low winter sun
[Dynax 7, Vivitar 19-35, f4.5-5.6, Provia 100] |
|
Victoria Station, London
[Dynax 7D, Minolta 50 mm f1.7] |
| 
Japanese construction work
[Dynax 5000i, Minolta 70-210 f4, Kodak Ektachrome 100] |
|
Angler waiting for tarpon in the early Belizean morning light
[Dynax 7, Minolta 100mm f2, Provia 100] |
| 
The Round Tower in Copenhagen
[Dynax 7, Vivitar 19-35mm f3.5-4.5, Provia 100] |
|
Fisheyes give a great effect
[Dynax 7D, Sigma 15mm f2.8 fisheye] |
| 
Two and a thousand popeyes
[Dynax 7D, Tokina 100-300 f4] |
|
Myself and the Tokina 100-300mm close to the ground
[Nikon D70, photo by Henning Eskol] |
| 
Barbed wire
[Dynax 7D, Sigma 90mm, f2.8 macro] |
|
A kakadu
[Minolta XM, Minolta MD 24mm f2.8, IR-film] |
| 
Icelandic sky
[Dynax 7, Vivitar 19-35mm f3.5-4.5, Provia 100] |
|
Fibonacci curve laid over an image. Notice how the imabalance of the picture fits the sections that the curve creates and how the black dot on the rod is in the vortex of the curve. |
| 
Again a Fibonacci curve on a picture. The asymmetry fits fine with the curve. Notice that the curve is laid in a frame, which is close to the golden ratio. The 24*36mm image is not. |
|
No access! It can be a good idea to avoid placing important stuff in the center of the image. It can be tempting because many cameras have focus fields and spot measuring there, but get important subjects out of the way and towards the edges. |
| 
Lighthouse
[Dynax 7D, Tokina 100-300mm f4] |
|
|
