Harold Davis's Blog, page 2

Black and White Filter Play

For this black and white image made with my Leica Monochrom M11 I experimented with different color filters. The basic setup was photographing with the camera on a tripod straight down on a large, white magnolia blossom from my garden. For the background I used black rocks, arranged on a tray lined with black velvet.

Magnolia © Harold Davis

As I noted, the camera was the Leica Monochrom M11, which only creates black and white images. The lens was the Leica Summilux-M 50mm/f1.4 Asph. I tried five possibilities: no filter at all, a circular polarizer, a red filter, a green filter, and an orange filter.

The composition was, of course, the same between the sample exposures. Each image was made at ISO 125 (the Monochrom’s lowest sensitivity setting) and f/16. I used the exposure-compensation setting to make three exposures for each filter: with no adjustment, -1 EV, and +1EV.

Generally, with this composition the +1EV exposures seemed to give the best contrast range. To compare the five +1EV exposures, I processed the Raw(DNG) files through Adobe Camera Raw at the default values. 

Interestingly, the family consensus was the the orange filter was the best, and that the no filter option was the worst (described as “duller”). Of course, this may be subject-matter and lighting specific. But it is worth considering using an orange filter with a monochromatic camera.

If you are interested, the precise filter I used was a 46mm B+W 040 Orange 550 MRC. According to the product description:

When using this filter, green, blue, and violet-colored subjects are reproduced in darker shades of gray than if a filter was not used. Simultaneously, yellow, orange, and red subjects are rendered in lighter shades of gray. Landscape and architectural photos show an increased, almost graphic contrast, while a cloudy sky may already appear dramatic. When shooting landscapes, shades of green foliage can be more differentiated, and this filter can also minimize the haze caused by the bluish cast of daylight. When used for shooting portraits, the appearance of freckles and skin blemishes will be reduced.

Off-the-beaten Track Japan Photo Tour: $2,000 pp discount ends July 14, 2025

I’m very excited to be heading back to Japan in November for our Off-the-Beaten Track Photography Destination Workshop to the Art and Sacred Islands of Japan. The special $2,000 per-person discount offer ends July 14, 2025. So if you are on the fence about coming with us, please take advantage of this incredible offer today!

Click here for a detailed Itinerary, and here for the Reservation Form, and here for an Overview.

Peaceful © Harold Davis

New Museum on Naoshima added to Off-the-Beaten Track Japan Tour

I’m pleased to announce that a visit to the just-opened New Art Museum on Naoshima Island in the Seto Inland Sea has been added to our Off-the-Beaten Track Japan photography destination workshop. This tour explores the sacred and art islands of Japan. Be among the first to visit this world-class art installation!

Bridge behind Maple Leaves © Harold DavisClick here for the New York Times article about the New Art Museum on Naoshima (NYT subscription required).Click here for the complete and detailed Off-the-Beaten Track Japan itinerary (PDF).There is still space in the tour. Note that the $2,000 per person discount off the published price still applies. This discount will only be offered for a limited time. Click here for the Reservation Form (PDF).Please contact us with any questions. Maruyama Park, Kyoto © Harold Davis

So many photos, so little time!

Heading home from Japan in a long day of travel, I’ve had a chance to glance through some of the many photos I’ve made on this trip.

Pink Flower in the Rain ©️Harold Davis

What’s different this time for me is that I didn’t travel with a computer. My posts to my feeds—-while only a small portion of the images I’ve made—-have been unprocessed from the camera, using Leica’s fairly good JPEG rendering.

As such, this has left me more time for exploring and wandering. The experience reminds me of the “good old days” when out-of-the-camera was more or less all there was (at least in the field, and leaving aside the wet darkroom when one got home).

I’ve had a great and varied trip, but am looking forward to being home with family and garden.

Foxes in a Shrine ©️Harold Davis

Stone Works

It will likely come as no surprise to my friends and those who follow me that this trip to Japan I am very observant of stone works: paths, walls, and water features. Stone works in Japan, both ancient and modern, are masterful and well crafted. For example, every stone wall I’ve seen, no matter how massive the stones, follow the two over one, and one over two fundamental rock wall principle.

Having recently designed and commissioned our rear garden at home, with its substantial stone works and water feature, I have an interest ranging on the obsessive with things made of stone.

Saihoji Path ©️Harold Davis Imperial Palace Wall ©️Harold Davis

Engetsukyu (Moon Bridge)

Engetsukyu (Moon Bridge) in Koishikawa Korakuen Gardens in central Tokyo is said to have been designed by Zhu Shun Shui, a Chinese Confucian scholar of the 1600s. It’s called “Engetsukyu (Full Moon Bridge)” because the bridge and its reflection in the water form a full moon shape. It is one of the oldest stone arch bridges in Japan.

Engetsukyu (Moon Bridge) ©️Harold Davis

Poppies Sayonara

I am traveling in Japan through the end of the month, and by the time I get back most of the poppies in my garden will have bloomed and faded. The cycle of life when it comes to flowers can be short, but always sweet.

Celebration of Poppies © Harold Davis

While I will miss the opportunity to photograph these beauties, there is always next year, and there are the gardens of Japan to compensate!

Poppies Sayonara © Harold Davis Amazing Poppies © Harold Davis

MS-Optics ISM 50mm f/1.0

MS-Optics is the company belonging to Sadayasu Miyazaki. Miyazaki-san, now an octogenarian, worked out of small office near Tokyo, and for a “retirement job” hand-assembled (and individually numbered) lens in the Leica M-mount. The M-mount lenses were a comparatively easy target for a one-person optical scientist as they have no focusing automation, feature a small mount size, and have excellent and published optical designs going back to the earliest years of 20th Century photography.

Grass © Harold Davis

The focus of Miyazaki’s optical designs (pun intended) was always to revive distinguished optical designs from the past, and to keep form factor small and lightweight. So compared to the much larger and more expensive lenses from Leica with the same nominal specifications, these lens certainly have pluses and minuses. 

Complexity © Harold Davis

On the pro side, the MS-Optics lenses are certainly less expensive than the Leica’s Noctilux line (if you can find a Miyazaki lens at all, because he doesn’t seem to be making new ones, so those available are used and mostly in Japan). Also, the size and weight are extremely manageable.

On the other hand, I have no doubt that any lens made by Leica is more sturdily built, easier to manipulate, and likely much more critically sharp.

Green World © Harold Davis

Although the Miyazaki  lenses have a toy-like appearance and feel, optically they are quite real, and provide a distinctive look.

For the images shown in this story, I used my Leica 11MP. Between the camera and the MS-Optics ISM 50mm f/1.0 I added the Leica Macro-Adapter-M to be able to get closer. I photographed all images with the lens wide-open (slightly wider than the stated maximum of f/1.0, some something like f/0.97) hand held, getting very close to the subject. With the image of a blade of grass (at the top of the story), this meant getting down on the ground. Critical focus was difficult but not impossible using the camera’s focus magnifier and the Visoflex 2 EVF viewfinder.

The pleasing and distinctive partially focused images remind me a bit of the results from my Lensbaby optics, which I have also used on my Leicas via and an Novoflex adapter to the F-Mount.

The best camera to use is the one you have with you

Heading to an appointment in San Francisco, Phyllis asked me whether I was bringing a camera. I hadn’t been planning to, as I often find it distracting to try to photograph when I am “focusing” on an aspect of life that is far removed from my art. But then I recalled the wonderful dictum, often attributed to photographer Jay Maisel: “I like to always bring a camera because it is hard to photograph without one.”

Stair © Harold Davis

I actually didn’t think I’d have much time or inclination for photography. But I brought along my little Leica 11MP with its Summilux 50mm f/1.4 “normal focal-length” lens: compact, elegant, and pretty versatile.

In the event, I only made one frame, while sitting in the waiting area of a Victorian: wide-open at f/1.4 looking up at sunlight beaming down on the old interior staircase (image is shown above).

If the best camera to use is the one you have with you, the best post-production software to use is the software you have access to (in this case, only the JPEG algorithms built into the camera, and whatever was on my iPhone).

I do love working in Photoshop, spending all night working in post is one of my ideas for a great and good time. But there’s something graceful and simple about taking the image the way it comes from the camera and not spending one’s life in front of a screen. This is my plan for my upcoming trip to Japan (I leave this week for the rest of the month).

My camera was set to save images in RAW and JPEG. Sitting in the waiting room, I used the Leica Fotos app on my phone to download a low-resolution version of the JPEG to my iPhone photo library. From there, I uploaded the image to my Flickr and Instagram feeds.

For the photographer on the go, who needs a computer and Photoshop? I guess I do, just not all the time.

Invitation to the 2025 Creative Nature Photography Summit! Starts May 19th! 📷

I’m thrilled to invite you to the Base Camp 2025 Creative Nature Photography Summit, starting May 19th! 

This is your chance to dive into 12 days of Nature photography inspiration, tips, and insights with me and an amazing lineup of top photographers—all from the comfort of home!

**What’s in store?**
– 12 Days of Learning, Free to Attend: Each day, you’ll receive a new presentation in your inbox, available to watch for free for 24 hours!

– VIP Access: Want unlimited access to every presentation and exclusive bonus content? Upgrade to our VIP package for only $97  
– Free Gifts: We’re giving away exclusive resources to support you on your creative journey!
– Inspiration & Community: Connect with a passionate community of photographers, gain new perspectives, and bring your skills to new heights. 

*Hosted by my friend and fellow Nature photographer, Angel McNall, this online summit is designed to help you reach your photography goals.* 

Reserve your spot today and get ready to be inspired! Click here to RSVP
If you have any questions, please reach out directly to my friend Angel at Angel@BaseCampPhotoClub.com.