Category Archives: Camera Equipment

Smithsonian Photo Of The Day

La finta giardiniera

Ida Ränzlöv, singing the part of Arminda, Anchise’s niece, waits backstage for her cue. Mozart’s La finta giardiniera. Dress rehearsal. Royal College of Music Opera School, Prince Consort Road, London. November 25, 2016. Photo: ©Edmond Terakopian

Delighted to share that Smithsonian.com has chosen my image from the current production of Mozart’s La finta giardiniera at the Royal College of Music as their Photo Of The Day.

It is indeed an honour to have an image selected from their 357,869 photographs, spanning 236 countries. The photograph was made backstage as part of my ongoing personal project “Life Between The Scenes” which explores the moments backstage as performers get ready before going on stage.

It was made using an Olympus OM-D E-M5 Mark II and a Voigtlander 17.5mm f0.95 Nokton m43 lens.

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Heliopan Lens Hoods

Metal or Collapsible Rubber Lens Hoods

This may well be the least interesting post on my blog; after all, who thinks about lens hoods?!

The Heliopan 46mm short metal hood fitted to my Olympus M.Zuiko 17mm f1.8. Photo: Edmond Terakopian

The Heliopan 46mm short metal hood fitted to my Olympus M.Zuiko 17mm f1.8. Photo: Edmond Terakopian

I was looking for a collapsible rubber hood for my Olympus OM-D setup and found these Heliopan hoods. I know the brand already from their excellent vario ND filters, so didn’t hesitate to give them a try.

OLYMPUS DIGITAL CAMERA

The Heliopan 46mm rubber hood fitted to my Panasonic Leica 25mm Summilux and Olympus OM-D E-M1. Photo: Edmond Terakopian

I’m impressed. Anyone looking for metal hoods or collapsible rubber hoods can’t go wrong with these. They’ll especially suit Mirrorless photographers, so Olympus, Panasonic, Fuji, Sony and Leica photographers should give them a look in. There are also larger sizes for DSLR users. The only problem is I can’t find a source which will show what angles of coverage the various hoods will be suitable for, so you may have some trial and error. The two I have work perfectly on these lenses shown here.

I got mine from Teamwork in the UK.

UK Picture Editors’ Guild Awards Finalist

UKPEG VIDEOGRAPHER OF THE YEAR

Thrilled to share some great news! Honoured to have been selected as a finalist in the UK Picture Editors’ Guild Awards for my short film, Taxi Driver. The highly-acclaimed UK Picture Editors Guild Awards competition is distinctive in that panel of judges consists only of working picture editors from national and regional newspapers, and international photo agencies, assessing the thousands of entries from professional photographers from throughout the media.

I’d like to congratulate all my fellow finalists and look forward to seeing you all on the award’s ceremony.

The short film is a look at a day in the life of a London black cab driver. It was shot on a pair of Olympus OM-D E-M5 Mark II cameras and a selection of M.Zuiko lenses. Full details here.

The Photography Show 2015

With Olympus & SnapperStuff

21-24 March 2015, NEC Birmingham

Olympus OM-D Action Factory with the new E-M5 Mark II, Prague, Czech Republic. A former water purification plant with several miles of underground tunnels. February 09, 2015. Photo: Edmond Terakopian

Olympus OM-D Action Factory with the new E-M5 Mark II, Prague, Czech Republic. A former water purification plant with several miles of underground tunnels. February 09, 2015. Photo: Edmond Terakopian

Very happy to share that I shall be at The Photography Show this year.

My Olympus Talks

I’ll be giving some talks, sharing my thoughts, experiences and successes shooting with Olympus OM-D cameras and naturally answering any questions you may have.

A self portrait by photographer and film maker Edmond Terakopian. Picture shows his Olympus OM-D E-M1 camera. London. February 23, 2015. Photo: Edmond Terakopian

A self portrait by photographer and film maker Edmond Terakopian. Picture shows his Olympus OM-D E-M1 camera. London. February 23, 2015. Photo: Edmond Terakopian

ID: 8570

My talks will be at the seminar room at the Olympus stand C51 and B49.

All seminars are free but will be ticketed to control numbers; 35 persons seated in private seminar room on the stand, so arrive early and get a ticket! All talks are 35 minutes in duration, plus a 10 minute Q&A.

Olympus Stand, seminar room
Saturday 21st
Seminar Start: 11.30 “Awards success in photography and video using the Olympus OM-D E-M1”. I will showcase and talk about the images that brought me awards success during 2014 and share my thoughts and work on the new OM-D E-M5 Mark II.

Olympus Stand, seminar room
Sunday 22nd
Seminar Start: 11.00 – “Awards success in photography and video using the Olympus OM-D E-M1”. I will showcase and talk about the images that brought me awards success during 2014 and share my thoughts and work on the new OM-D E-M5 Mark II.

Olympus Stand, seminar room
Monday 23rd
Seminar Start: 16.00 – “Awards success in photography and video using the Olympus OM-D E-M1”. I will showcase and talk about the images that brought me awards success during 2014 and share my thoughts and work on the new OM-D E-M5 Mark II.

Olympus Stand, seminar room
Tuesday 24th
Seminar No 1 Start: 11.00 – “Awards success in photography and video using the Olympus OM-D E-M1”. I will showcase and talk about the images that brought me awards success during 2014 and share my thoughts and work on the new OM-D E-M5 Mark II.

Seminar No 2 Start: 15.00 – “London Taxi – a short film shot on the new OM-D E-M5 Mark II”. I will show and talk about his short film, sharing what makes this new camera indispensable. As an added bonus, I’ll actually be showing a brand new edit and grade of the London Taxi film, which I have called Taxi Driver. The show will be the first place this is shown and will be online after the event.

There are lots of talks by my friends and colleagues at the Olympus stand, so make sure to check out the full Olympus schedule.

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Members of the Snapper Stuff team at Tower Bridge Studios in London. The team with some of the products from Think Tank Photo, KLM, Lightech and LumiQuest.  December 08, 2012. Photo: Ant Upton

Members of the SnapperStuff team at Tower Bridge Studios in London. The team with some of the products from Think Tank Photo, KLM, Lightech and LumiQuest. December 08, 2012. Photo: Ant Upton

I’ll be with the SnapperStuff team on Stand B102, so pop by and have a chat about all things Think Tank Photo (by far my favourite and most used bags), FLM tripods & heads, Lumiquest hotshoe strobist flash modifiers, Lightech light modifiers, MindShift Gear (outdoors bags) and of course, all things photography and video! You can also meet the SnapperStuff team; uniquely, we are all full time professional photographers, so relevant advice and good conversation is pretty much a given!

My SnapperStuff Talks

I shall also be  giving two talks on behalf of SnapperStuff at the Film Making Theatre at the show:

Film Making Theatre
Saturday 21st
14.30 – 15.10 “Multimedia Shooting”. Discover essential filming techniques and how to mix photography, timelapse, video and audio.

Film Making Theatre
Monday 23rd
11.30 – 12.10 “Essentials of documentary film making”. Advice on the steps needed to achieve your filmmaking vision.

You can see a full list of all my talks on the Photography Show website.

Hope to see you at the show!

Olympus OM-D E-M5 Mark II Review

Is The Sequel Any Good?!

Cameras come and cameras go. It’s a cycle that every manufacturer repeats every few years. As a professional photographer, I naturally keep my eyes open for new and better tools and as a reviewer of camera equipment for my blog and also various magazines over the years, I naturally get to use and review a lot of equipment from a lot of the main brands in our industry.

The new Olympus OM-D E-M5 Mark II fitted with the HLD-8 Power Battery Grip. February 05, 2015. Photo: © Edmond Terakopian

The new Olympus OM-D E-M5 Mark II fitted with the HLD-8 Power Battery Grip. February 05, 2015. Photo: © Edmond Terakopian

So, how do I know if a camera is any good? Well, one sure way is at the end of the test, when I box away the camera to send back. If at this stage I feel bad and want to hold on to the camera, that gut feeling says it all. As I boxed away the OM-D E-M5 Mark II last night and begun taping up the box, I really wished I could keep it!

The new Olympus OM-D E-M5 Mark II. The two grips, the HLD-8 Power Battery Grip. February 05, 2015. Photo: © Edmond Terakopian

The new Olympus OM-D E-M5 Mark II. The two grips, the HLD-8 Power Battery Grip. February 05, 2015. Photo: © Edmond Terakopian

Although I never used Olympus in the days of film, I always really fancied the OM3Ti; to the point that even now, once in a while I’ll look them up on eBay! When Olympus launched the first PEN, the E-P1, my interest in the company’s cameras was re-invigorated. Since, I’ve owned and use various PEN cameras, the most recent being the brilliant E-P5. When I saw the first OM-D, the E-M5, I did rather like it and when I saw the E-M1, I did rather love it. It was a camera that just felt perfect from the second I picked it up and since has become my most used camera system, putting my Canon DSLR and Leica M setups in early and part time retirement. I’ve been using the new E-M5 Mark II for exactly two weeks now. My first outing with it was a video shoot of an anti ivory demonstration at the Chinese Embassy, which will be used in the feature length documentary, The Last Animals. Having played with the camera the evening before, it gave me such confidence in it’s abilities that I was happy to take it on a real and important assignment the next day. Although I brought a Canon 5D MkIII as a backup, just in case, the little Olympus worked faultlessly and perfectly, allowing me to shoot the entire demo with it. The camera’s ergonomics and menu system are very well designed. Not having a manual for the two weeks meant having to figure everything out by exploration and I’m happy to say that everything just came together nicely, all because of a well thought out camera, by designers and engineers who clearly understand photography and photographers.

A rare Ferrari 288 GTO  built in 1985 with only 883 miles on the clock. It is valued at £2,000,000 and available from H.R. Owen in South Kensington, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. January 30, 2015. Photo: ©Edmond Terakopian

A rare Ferrari 288 GTO built in 1985 with only 883 miles on the clock. It is valued at £2,000,000 and available from H.R. Owen in South Kensington, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. January 30, 2015. Photo: ©Edmond Terakopian

One of the highlight aspects of the E-M5 Mark II is it’s new high resolution mode; the resolution is boosted from it’s normal 16mp to a whopping 40mp. It does this by taking eight images, shifting the sensor for each shot and combining them into a 40mp jpeg, all in a matter of seconds. As the camera can fire up to 11 shots in the silent continuous mode (more of this later), the actual picture can be taken in under or around a second, so long exposure’s aren’t needed.

A rare Ferrari 288 GTO  built in 1985 with only 883 miles on the clock. It is valued at £2,000,000 and available from H.R. Owen in South Kensington, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. January 30, 2015. Photo: ©Edmond Terakopian

A rare Ferrari 288 GTO built in 1985 with only 883 miles on the clock. It is valued at £2,000,000 and available from H.R. Owen in South Kensington, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. January 30, 2015. Photo: ©Edmond Terakopian

A detail crop; A rare Ferrari 288 GTO  built in 1985 with only 883 miles on the clock. It is valued at £2,000,000 and available from H.R. Owen in South Kensington, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. January 30, 2015. Photo: ©Edmond Terakopian

A detail crop; A rare Ferrari 288 GTO built in 1985 with only 883 miles on the clock. It is valued at £2,000,000 and available from H.R. Owen in South Kensington, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. January 30, 2015. Photo: ©Edmond Terakopian

The processing of the eight images then takes a couple of seconds. A tripod is a must and your subject needs to be still, but I can see a lot of creative uses of this with moving subjects! The results are astonishing though. An image dimension of 7296 x 5472 takes things into the higher end of medium format territory. The results are pin sharp, full of detail and tonal range. Whilst this wasn’t a feature I was enamoured by when I first found out about it, having used it, it has really blown my mind!

Taxi Rank, Paddington Station, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. February 01, 2015. Photo: Edmond Terakopian

Taxi Rank, Paddington Station, London. Image shot on the Olympus OM-D E-M5 II, using the multi shot sensor shift facility, creating a 40 megapixel image. February 01, 2015. Photo: Edmond Terakopian

To download a full resolution file of the above image and see for yourself, follow THIS LINK. The other huge feature of the E-M5 Mark II is an updated and even more capable 5-axis in camera stabiliser. In a nutshell, every axis of movement is stabilised, meaning hand held shot are possible at very slow shutter speeds for pin sharp photographs. With practice I found I can shoot hand held at down to almost a one second exposure.

Shooting Video

This stabiliser also works in the video mode and in this aspect, pushes the camera to be one of the most able video shooting stills cameras around. It frees the user up to shooting so much more hand held shots. In my short film Taxi Driver, I shot the majority of shots completely hand held. Something I would never do with a DSLR, even with a stabilised lens.

Some of the shots in the film were done by attaching the camera and a mic, onto the windscreen of the taxi or to the bonnet, using a Delkin Fat Ghecko vehicle mount. This triple suction mount worked perfectly, but on it’s own offers no means of stabilisation. Considering how much a diesel London Taxi vibrates and the state of the bumpy roads in some parts of town, the smooth results just blew me away. The stabiliser is both extremely capable and extremely freeing, allowing you to shoot and create, without worrying about steadycams or a tripod. In fact, the only scenes I used a tripod and monopod were for the interview in the cafe and a few shots of a taxi rank. The rest of the seven hour shoot was freehand! By adding a grip (either the HLD-8 or HLD-8 Power Battery Grip) one also adds a headphone socket. This is essential for being able to monitor what the microphone is picking up and really makes this camera an even better video shooter. Thankfully, the audio gain level (along with ISO, aperture, shutter speed and headphone volume) can be changed using the silent touch screen during video shooting. Brilliant!

The new Olympus OM-D E-M5 Mark II. Picture shows the all important headphone socket, now part of the optional (and essential) grip, the HLD-8G and HLD8 Battery Power Grip (shown), February 05, 2015. Photo: © Edmond Terakopian

The new Olympus OM-D E-M5 Mark II. Picture shows the all important headphone socket, now part of the optional (and essential) grip, the HLD-8G and HLD8 Battery Power Grip (shown), February 05, 2015. Photo: © Edmond Terakopian

Thankfully, we now have variable frame rates, meaning that 60p, 50p, 30p, 25p and 24p can be used for full 1080p HD video. The video file itself is very beefy! ALL‑I has a data rate of 77Mbps. IPB gives the following data rates in the following quality setting: SF: ~52Mbps, F: ~30Mbps, N: ~18Mbps. Having shot the majority of the two films in ALL-I at 77Mbps, I can say that the detail holds up extremely well, rendering both highlight and shadow detail properly, allowing for proper grading. It also pushes the camera’s data rate into one the BBC with their stringent guidelines should approve of. Another very handy feature is various levels of slow motion (and speeded up footage) available in camera. I have made good use of the slow motion and am very pleased with the results. You can see this in action in my London Taxi film mentioned earlier.

The new Olympus OM-D E-M5 Mark II fitted with the HLD-8 Power Battery Grip and Rode Steroe VideoMic X. February 05, 2015. Photo: © Edmond Terakopian

The new Olympus OM-D E-M5 Mark II fitted with the HLD-8 Power Battery Grip and Rode Steroe VideoMic X. February 05, 2015. Photo: © Edmond Terakopian

On the audio front, the camera has the all important audio limiter, meaning loud sounds or a raise in volume won’t blow the audio and make it useless. The audio is also recorded at 16 bit, 48Hz, Wave Format Base, meaning it’s actually of better than CD quality and not compressed. Naturally there is an on screen audio meter during shooting. Although the camera has built in stereo microphones, it also comes with the essential mic socket, and during filming my Rode VideoMic Pro and Rode Stereo VideoMic X found themselves at home and recording great audio. Other Goodies The flip out, articulated screen is a great bonus which allows various camera angles to be used with ease. One thing I found I was going a lot was flipping it so the screen was hidden from view and the camera resembled a film camera. This is great as it’ll stop the chimping photographer, make them concentrate on the scene and not the camera back and as a result save on battery power. During the interview scene in London Taxi, I was shooting multicam, and the screen allowed me to tilt it on the wide camera, meaning I could keep an eye on it and on the one in my hand; very handy indeed. Another very handy aspect for me was the practically silent shutter. It can barely be heard and on the street, it should be completely inaudible. Need to take pictures in a monastery of monks who have taken a vows of silence? Not a problem as there is also a completely silent electronic shutter mode. And yes, I do mean silent. Completely. Zero sound. It’s absolutely astonishing to put the camera into silent continuous and know one’s shooting 11 frames per second, in absolute, total and complete silence! In normal mode, the barely audible shutter mode means in continuous mode, the count drops by a frame to 10fps.

London Taxi driver Terry Bradford. January 31, 2015. Photo: Edmond Terakopian

London Taxi, St Paul’s Cathedral. January 31, 2015. Photo: Edmond Terakopian

The built in WiFi remains from the previous cameras and married to the Olympus O.I. Share app on iOS means you can download jpegs (I always shoot RAW and medium jpeg for just this reason) and also have full, wireless remote camera control. This naturally opens up huge possibilities and also allows quick sharing of images on social media (just check out my Instagram!) or for sending a quick image to a client for approval or a newspaper for publication. As a very important bonus, the battery system is the same as the previous OM-Ds and PENs; this means that when travelling, one needs one type of charger and one set of batteries. It’s this type of uniformity that endears a brand to the photographer and really helps on assignment. Final Thoughts So, is everything perfect? So far, I have had nothing but praise for this camera; I almost have nothing but praise for this camera. The only thing that bugs me, is the rear function button, labelled Fn1. It’s just too small and flat and is next to a lever which juts out too much, adding to it’s difficult use. In normal function button use, this isn’t an issue and works perfectly well when holding the camera away from the face and accessing the menus, but there are some photographers, myself included, who prefer back button focus, so assign all AF use to the back button. Whilst it’s usable, it’s not comfortable and not as tactile as it should be. So if you’re one of the breed who likes to back button focus, you will be annoyed. However, I like this camera so much that I will try and find a way to attach something to this button to make it stand out a few millimetres.

Dramatic Clouds At Sunset, London. February 05, 2015. Photo: © Edmond Terakopian

Dramatic Clouds At Sunset, London. February 05, 2015. Photo: © Edmond Terakopian

Well, as I mentioned at the beginning, I don’t want to return this test camera back to Olympus; I like it that much. One thing is for sure, a couple of E-M5 Mark II cameras will definitely be joining my bag as soon as they are available. My E-M1 cameras are extremely capable (and will be even better with the new firmware bring faster continuous AF, I’m sure) but for video, the E-M5 Mark II has raised the bar tremendously. For me, it’s a must have camera…..so yes, the sequel is much better! Links: Here’s my Flickr Album with E-M5 MarkII images; this will be updated, so do keep an eye on it.

Addendum

My black Olympus OM-D E-M5 Mark II camera and M.Zuiko 17mm f1.8 lens. April 29, 2015. Photo: Edmond Terakopian

My black Olympus OM-D E-M5 Mark II camera and M.Zuiko 17mm f1.8 lens. April 29, 2015. Photo: Edmond Terakopian

A few months on and I’ve got myself a pair of E-M5 Mark II cameras. As I’ve already mentioned, it’s a great camera. In fact, I have an assignment tomorrow and I’ll only be shooting on these; shall leave the E-M1 cameras at home. One thing however has changed since my review; the back “Function 1” button. Olympus have clearly been listening to the feedback and seem to have completely changed the button’s mechanics. It’s no longer hard to press and feels much better. The design isn’t ideal as the lever juts out too much, but with the button being softer to the touch and with much more feel, back button focusing is actually achievable comfortably. I’ve set up both my cameras with back button focus enabled. Top marks to Olympus for making this small yet significant change since the sample camera I had for my initial review.

Olympus OM-D E-M5 MarkII Video

“London Taxi”

A short film shot on the new Olympus OM-D E-M5 Mark II camera. The film was shot using two cameras and the following Olympus M.Zuiko lenses: 9mm f8 (Body Cap Lens), 12mm f2, 12-40mm f2.8PRO, 25mm f1.8, 45mm f1.8 and 75mm f1.8.

The new Olympus OM-D E-M5 Mark II fitted with the HLD-8 Power Battery Grip and Rode Steroe VideoMic X. February 05, 2015. Photo: © Edmond Terakopian

The new Olympus OM-D E-M5 Mark II fitted with the HLD-8 Power Battery Grip and Rode Steroe VideoMic X. February 05, 2015. Photo: © Edmond Terakopian

Addendum:

I have since made a shorter edit with a different grade of London Taxi (above) and it’s called, Taxi Driver:

Ambient audio was recorded on camera using a Rode Stereo VideoMic X. Audio was also recorded using an Olympus LS-100 with it’s internal microphones for ambient sounds and also hooked up via XLR to a Rode NTG3 for other atmospheric recordings. A Rode Lavalier microphone was used for for the interviews, attached to the Olymps LS-100 via it’s XLR input. All of the microphone mounts and windjammers used (apart from the one on the Stereo VideoMic X) were by Rycote.

The Olympus LS-100 audio recorder and Rode NTG3 microphone.. February 05, 2015. Photo: © Edmond Terakopian

The Olympus LS-100 audio recorder and Rode NTG3 microphone.. February 05, 2015. Photo: © Edmond Terakopian

The majority of shots were hand held, using the camera’s built in stabilisation system to keep the shots steady. For the shots where the camera was attached to the taxi, a Delkin Fat Gheko camera mount was used. A Manfrotto tripod and video monopod was also used for the interview and cab rank scenes.
Editing was done on an Apple Mac Pro and FCP X, using Eizo CG-276 monitors and monitoring audio on Event Opals. Asset management and image processing were done on Adobe Lightroom and Photoshop.

The new Olympus OM-D E-M5 Mark II. The two grips, the HLD-8 Power Battery Grip. February 05, 2015. Photo: © Edmond Terakopian

The new Olympus OM-D E-M5 Mark II. The two grips, the HLD-8 Power Battery Grip. February 05, 2015. Photo: © Edmond Terakopian

Nikkor 8mm Fisheye On A Leica M Type 240

The Joy Of Mirrorless Cameras

The inside of a washing machine drum, photographed on a fisheye lens. July 07, 2014. Photo: Edmond Terakopian Shot using a Nikkor 8mm Fisheye lens on a Leica M (Type 240), using a Novoflex Nikon to Leica M adapter.

The inside of a washing machine drum, photographed on a fisheye lens. July 07, 2014. Photo: Edmond Terakopian
Shot using a Nikkor 8mm Fisheye lens on a Leica M (Type 240), using a Novoflex Nikon to Leica M adapter.

One of the joys of mirrorless cameras is the ability to mount practically every lens made by every manufacturer, using the appropriate adapter. The Leica M rangefinder, being the mother of all mirrorless cameras (going back to 1954), made the perfect camera to try out my old, vintage Nikkor 8mm f8 fisheye lens. Especially as the camera has a full frame sensor so can display the circular fisheye perfectly. With the Leica M (Type 240)’s Live View, the camera was ideal.

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Photographing the inside of a Bosch washing machine drum. Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 07, 2014. Photo: Edmond Terakopian

Photographing the inside of a Bosch washing machine drum. Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 07, 2014. Photo: Edmond Terakopian

My favourite lens adapters are made by Novoflex (available in the UK from Speed Graphic). With a lot of research and help from the wise folks at the Leica Users Forum, we deduced that the Nikkor would fit (it has a very deep rear element. When used on an SLR, the mirror has to be locked up before the lens is mounted).

***DISCLAIMER – you need to realise that mounting any non standard lens to your camera has it’s own risks. Do your research carefully as you will have to take full responsibility if anything goes wrong! I am not liable for any mistakes, accidents or damage and do not encourage you to try this!***

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

These are early days and I’m going to explore using this circular fisheye, but I wanted to share the journey so far. The only proper picture I’ve made so far is the washing machine drum, but there will be more to come, so keep an eye on my Flickr page!

More Nikkor 8mm Fisheye on Leica pictures HERE.

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. The stairwell. London. July 06, 2014. Photo: Edmond Terakopian

Nikkor 8mm Fisheye Lens On Leica M (Type 240) Test, using Novoflex adapter. The stairwell. London. July 06, 2014. Photo: Edmond Terakopian