Our Picture This! assignment for this month was Super Wide, the visual
equivalent of having extra-wide peripheral vision that only photography
can provide. Readers sent in "prime" images made with lenses
that included fisheyes, rectilinear fisheyes, and those below 20mm in
focal length, as well as a number of "stitched" images that
came courtesy of digital imaging. As we expected, we received great interiors,
amazing foreshortening (the cartoon-like effect where the foreground subject
seems to jump out of the scene), and some landscapes that only a super-wide
lens could capture. In all, a great crop!
da Vinci's Horse: Roger T. Gossick worked with his Nikon F100
and 16mm f/2.8 (rectilinear) Nikkor fisheye lens to great effect on
this photo of this huge bronze statue. The figure, he wrote, is about
two stories tall.
© 2003, Roger T. Gossick, All Rights Reserved
Open Door: Wrote photographer Mike Miller, "When I want some really
strange effects I mount a 0.42 fisheye converter onto my Minolta 35-70mm
zoom lens." The shot, says Miller, was made about a foot away
from the doors. He made the photo with his Minolta HTsi on Fuji Sensia
100 slide film.
© 2003, Mike Miller, All Rights Reserved
Classic Car: This red "Caddie" got the super-wide treatment
by Mike Puchreiter with his Leica R8 and 19mm Elmarit lens on Fujichrome
© 2003, Mike Puchreiter, All Rights Reserved
Wide Virginia Morning: Photographer Wu-Seng Lung made this shot of Thomas
Jefferson's Rotunda and Lawn at the University of Virginia with
his Hasselblad Xpan panoramic camera using the 30mm lens, which he tells
us is equivalent to about 17mm focal length. He exposed on Kodak Elite
Chrome 100 at 1/250 sec at f/11.
© 2003, Wu-Seng Lung, All Rights Reserved
Cooled Out: This enviable shot was made by Ken Conz with his Canon EOS
3 and Canon 14mm L lens on Fujichrome Velvia 50 film. This great spot
was Kauai, Hawaii, in February 2004, a place many of us would have preferred
to be during the frigid winter.
© 2004, Ken Conz, All Rights Reserved
Piazza View: Dr. Mel Wilner sent us this great shot of the Palio in Siena,
Italy, made with his Nikon N90s and Sigma 14mm f/2.8 lens on Fujichrome
Velvia film. We wondered why there was lack of distortion, and the good
doctor told us that he straightened it out with Photoshop.
Dr. Mel Wilner, All Rights Reserved
Wide Flying: Wrote Chris Hukill, "This photo was taken from the
back seat of my airplane, an RV8 kit plane. I removed the back seat and
bungeed a tripod where the seat and rear baggage compartment would be.
I then mounted my Nikon N70 and attached the Vivitar 19-35mm zoom lens."
He photographed on Kodak 200 print film and of course tripped the shutter
with a remote release.
© 2003, Chris Hukill, All Rights Reserved
Wall Of Fire: Robert Praskac made this amazing photo of the 2003 Simi
Valley fire in California with his Nikon D100 and 12-24mm lens. The spot
he took the photo from, wrote Praskac, was consumed by fire the following
© 2003, Robert Praskac, All Rights Reserved
roof design of this building in the center of the Potsdamer
Platz lets in the light, protects the cafe sitters from
rain, and makes the eye move upward into the sky beyond.
It's all part of the artful architecture of this
amazing area in Berlin, where the construction crane seems
to be the national bird.
© 2003, George Schaub, All Rights Reserved
Picture This! -
Our Next Assignment
From the art deco buildings of South Beach to the grand interiors of train
stations to the cathedrals of our great cities, the world is filled with
impressive feats of building design. Our architecture expresses our view
of the world we wish to live in and is often more about dreams than mere
walls that enclose our place of home, work, or worship. So get out your
camera and send us your images that show the art of building in your world.
Please Read This
It is important that you read and follow these guidelines. We need to
follow this procedure because of the large volume of images we receive.
1) Images sent to us cannot be returned. You retain complete
copyright over the images, but do grant us permission to print your image(s)
in the magazine and on our web site, www.shutterbug.com
2) Because images are not returned please send a quality
print or duplicate transparency. We will not accept or view images on
CD, ZIP, or any other electronic media.
3) Images will be selected on the basis of content and
technical quality. Please mark your outer envelope with the topic of the
month (for example, "Wide View").
4) Enclose a short caption with the image stating camera,
lens, film and exposure, plus location. If you are submitting an image
with a recognizable person we must have a model release or signed permission
from that person to reproduce their image in the magazine and on the web
Send your image
and information to:
Picture This! Shutterbug Magazine, 1419 Chaffee Dr., Suite #1, Titusville,
Deadline for submission: July 15, 2004
Images will appear in our October 2004 issue.
Our next topic: Color In Black And White
Deadline: August 15, 2004
Publication Date: November, 2004