Architecture: De Krook (yes, again)

I had to go back, didn't I? I kept feeling something was amiss, and that "something" was easily identified: the images I was after could only be obtained through a wider perspective (i.e. wider than 28 mm on full frame), by taking the proper time and by using the proper technique (tripod, remote control, mirror up, high quality lenses). So, basically, through proper architectural photography. When I started out, I got bored rather quickly with the shots I could get from the kit lens, so I switched to fixed focal length lenses ("primes"). As high quality primes easily demand exuberant prices, I went the vintage way and used old Zeiss glass, adapted to the Canon EF-mount (in this case a C/Y 50 1.7 on a 7D, corresponding to an 80 mm field of view on full frame). This allowed me to experience the famed Zeiss microcontrast and punch relatively cheaply, but at the same time it slowed me down to a mere creep: tripod, manual focus with live view, remote control, mirror up, stop down metering. I've never had more fun. Following my move to Nikon, the Nikkor 60 2.8 became my staple lens for artefact photography because I discovered some annoying flaws in the otherwise superb Zeiss Makro-Planars, which made them less suited for how I shot. The 50 mm displays a hot spot in back lighting conditions when using a small aperture, and the 100 mm treats you with horrendous longitudinal chromatic aberration in high contrast scenes, even when stopping down to medium apertures. For event photography, on the other hand, the Nikkor 85 1.8 and Coolpix A became king. So, here I was, at the foot of the Krook. After shooting Musée Hergé and having mixed feelings when going through the images, I had bitten through the sour apple and gotten myself a Nikkor PC-E 24 2.8. I knew that hunk of metal and glass would force me to pick up the old habbits once more, and after a period of run and gun (event) photography, I felt ready. Armed with the 24 and both the Zeiss MPs, tripod and remote control, I got sucked into the zone from the first shot. It was an exhilarating experience that instantly brought back the intense joy I once felt when shooting. That being said, there's no doubt in my mind that I got kickstarted not merely by the gear, but also by how the amazing building is able to inspire. Evil voices might say that at night, it looks like a construction suited to grace the surface of Cybertron, but they'd be wrong: at night, this library transforms into a fancy night club! When working on the files, I bet there was a big smile on my face pretty much all the time - intersperced only by bouts of outright laughter. The dynamic range and tonality at base ISO of a D800E are nothing short of amazing, and the resolution and punch of the three lenses is a joy to behold. The 100 MP is visibly the best of the lot, it draws beautifully. Based on the lenses I've used, and from what I was able to gather from a short test in a shop, only the Otus range and, reportedly, the Zeiss 135 2.0, do better. You'll have to take my word for it that they're hardly comparable to the full-sized shots, but do watch the "big" (800 pixel high) versions instead of the thumbnails. Maybe, just maybe, you'll get that smile too.