Thursday, February 28, 2013

Another Parallel Image Moment - On the Farm

juangrande posted some images "on the farm," shot with a Panasonic Lumix DMC-GX1 and Lumix 20mm f1.7 lens. I like what he posted.
(Click Here) to see all three of juangrande's images on
So what's the parallel? Well, if you saw my recent post of what I'm calling parallel images of circus horses (Click Here), you may or may not appreciate this.
Here's a shot I took last summer as part of a film challenge, while I was visiting family in Oklahoma:
On the Farm, by Reed A. George
Leica CL
Do you see a resemblance? Of course, these irrigation systems are interesting to look at. But, it's not like cats or kids - you don't see pictures of them every day.
Maybe I need to get some original conceptual ideas...

Wednesday, February 27, 2013

Kodak Tri-X Black and White Film - So Many of Us Grew Up On It

The first roll of black and white film I ever shot and developed was most likely Kodak Tri-X asa 400. It was certainly the standard in my 6th grade middle school darkroom, and for the yearbook project. Tri-X was also the standard for the photojournalists of the time, and for a very long time.
For years, I bulk-loaded my own cassettes from 100' rolls. Those were the days. And that emotion seems to keep lots of people using Tri-X.
Personally, I have moved on to Kodak Tmax 400 as my standard film. Tmax has finer grain. But Tri-X does have a very special look to it.
John Bragg has started a post about how he just can't get Tri-X out of his system.
(Click Here) to read his post, and other users' comments on rangefinderforum
John should not be in any hurry to change. The shot above, shot on a Nikon FM2N and Vivitar 135mm lens leaves little to be desired.

Tuesday, February 26, 2013

What About That Ricoh APS-C With Leica M Mount?

The Leica GXR, announced in 2011, offers a module to mount Leica M lenses on a 12 megapixel APS-C sensor. I have not seen many results from this combination, or read many user reviews.
(Click Here) to read dpreview's preview of the camera. It sure looks nice.
Why am I thinking about this? Well, I saw this picture:
Image Source:
(Click Here) to read the original post on rangefinderforum.
This camera requires an add-on electronic viewfinder, if you don't want to shoot from the LCD.
I've always been a fan of Ricoh cameras. I haven't tried any of their digital offerings. Since I have the Leica M9, this isn't too attractive to me. If I wasn't lucky enough to have the M9, this may be a serious contender, in the running with one of the new Fuji X series, to which you can adapt Leica lenses. However, the Fuji has the added feature of an optical finder, a major plus in my opinion.
In any case, it's nice to see such a high quality image produced with the Ricoh. I really like this shot.

Monday, February 25, 2013

Panasonic Lumix DMC-LX7 - Jpeg Settings

I have only spent a little time with the LX7 so far. I started off by shooting some Jpegs. You have lots of image options in Jpeg shooting with the LX7, under "Photo Style." I started with STD, with default settings (for contrast, sharpness, color, and noise reduction). I have to admit I was not very pleased with the look of the jpegs at these settings. So, I had an assignment - see how to optimize Jpeg settings, if indeed it's possible to get what I want.
Just so you know, the raw images look pretty good to me. In the past, with my DMC-LX2 and DMC-LX5, I always shot raw. I may end up in the same situation with the LX7, but let's see what contributes most to my disappointment with the default images.
I decided to shoot a set of images on a tripod, using iso 400, f5.6, 1/60 second (manual exposure), and manual focus. I wanted to minimize all of the other variables, so that I could focus on Jpeg processing. I also shot both STD (color) and MONO (black and white) jpegs, since I'm interesting in optimizing both.
Here's the scene I shot:
Overall Scene, by Reed A. George
Panasonic Lumix DMC-LX7
iso 400, f5.6, 1/60 sec.
The tight crop below shows close up what I saw with the default STD jpeg settings:
Crop - STD, Default Settings
You can see some processing artifacts, especially along the edges of the lamp shade at right, and in the shaded area of the wall, directly under the leaves.
Based on my experience, these artifacts could be due to one or a combination of the following variables:
  1. Jpeg compression algorithm
  2. Oversharpening
  3. Excessive noise reduction (NR)
I was hoping that it wasn't number 1; there's nothing you can do about that as a user. So, I tested Sharpness and NR, independently and in combination. First, I turned down Sharpness to the minimum (-2).
Crop - STD Photo Style, Sharpness -2, Default NR
In this, I see a distinct drop in the artifacts, and the expected reduction in sharpness. Much better. I can always sharpen in Lightroom.
Next, I brought sharpening back to default level, and reduced NR to the minimum (-2):
Crop, Default Sharpness, NR -2
The artifacts are back. Looks like Sharpness is the key adjustment.
Just for kicks, I combined minimum settings for both Sharpness and NR:
Crop, Sharpness -2, NR -2
The artifacts again disappear, but I don't think NR had much to do with it. Default Sharpness level in the LX7 creates Jpeg artifacts to a level that I find unacceptable.
Now let's look at the same series in black and white.
Crop - MONO, Default Settings
In black and white, I think the artifacts show up worse than in color. Look at the right edge of the moulding at the edge of the window.
The next one was shot with Sharpness set to -2:
Crop, Sharpness -2, Default NR
Much better.
For completeness, let's see what default Sharpness and minimized NR do:
Crop, Default Sharpness, NR -2
Artifacts back. Again, Sharpness is the setting that affects Jpeg artifacts.
Finally, minimizing both Sharpness and NR yields this:
Crop, Sharpness -2, NR -2
Again, the artifacts disappear, but in my opinion that's mostly due to minimizing Sharpness. NR doesn't seem to generate many artifacts.
So, what does this tell me? It tells me that I can drastically improve Jpeg from the default settings by reducing Sharpening. Now that I know that, I can decide whether to reduce it to -1 or -2.
I'm happy that I can adjust Sharpening to affect Jpeg processing. I'm also happy that it's not a combination effect, which is harder to control.
One more thing - I love the iAuto option on the LX series cameras. It allows you to quickly switch from any setting and let the camera make all the decisions. Let's say that you're shooting Jpeg street scenes with manual focus in black and white at iso 400. Just then, you see a person approaching with a gorgeous bouquet of red roses. Rather than trying to work through menus to get back to shooting color, you can switch the top dial to iA and shoot away. Very handy. Unfortunately, I cannot adjust sharpening in iAuto. So, that will seriously limit my use of iAuto with the LX7.
Lots more to come on the LX7. So far, so good.

Sunday, February 24, 2013

Shanghai Rings in the Year of the Snake with a Blanket of Snow

She Battles the Snow in Her Unique Way, by Mimo Khair
Mimo Khair posted this really interesting shot and a little prose on the experience of being in Shanghai on the eve of the year of the snake.
(Click Here) to read the post on
I went out for the Chinese New Year parade here in Washington, DC. Due to poor planning, I was there early with my daughter and my friend James McKearney. We got to see a few lion dancers preparing for the parade, but we were chilled and ready to go long before the parade truly began. So, I don't have much to show. Here's a shot of a street vendor, selling miniature lion decorations, and, of course, rubber snakes.
Get Yer Rubber Snakes!, by Reed A. George
Leica M9, W-Nikkor C 3.5cm f2.5 LTM Lens
iso 400, f5.6, 1/125 sec
The W-Nikkor 3.5cm lens is my choice for my "Whole Lotta Leica" feature in February. I definitely need to get out more with it soon.

Saturday, February 23, 2013

Pay Toilet in Panama, by billgreen on

This shot shows so much. First, the call to pay for the toilet, of course. But beyond that - how about those drums and blankets? Great environmental features. I think this shot is so well done.
Poster billgreen on shot this with a Panasonic Lumix DMC-GX1 and Lumix 14-45mm kit lens.
(Click Here) to see the original post on
I love images that share a real feel for a place. This one works for me. I wonder what it looked like in color?
By the way - the GX1 has been on sale at very low prices lately:

Friday, February 22, 2013

Sometimes the Light Just Happens - Strong Directional Lighting Portrait With Leica M9

How Long Will He Make Me Sit Here? #1, by Reed A. George
Leica M9, Leica Elmarit 90mm f2.8 Lens
iso 400, f5.6, 1/180 sec
Feeling limited by the gray days and cold weather lately, I was very pleased to walk into my dining room and see this lovely, warm, directional light coming in from the sunset. So, I called my favorite model (who happened to be home with me at the time) and made her sit for a few pictures. Eleven years old, she's not exactly patient with my need to get a photograph of her whenever the moment happens. Lucky for her, this light only lasted a few minutes.
I shot a few images of her with the lens that was on my camera, the W-Nikkor 3.5cm f2.5 that is this month's pick for Whole Lotta Leica. You'll see one or two of those images in my next Whole Lotta Leica post. Then, having at least a few shots in the bag before the light disappeared, I ran down to grab my 90mm Elmarit. The images you see here are all from the 90mm lens. Oh yeah, I also shot a couple with my Super Ricohmat, the camera I selected for February's Skeletons From The Closet project.
In any case, I love the warm directional light. There's just enough to see the outline of her hair, and the normally bright room behind her went nearly completely black. The picture above, and this next one, are both warm in tone.
How Long Will He Make Me Sit Here? #2, by Reed A. George
Leica M9, Leica Elmarit 90mm f2.8 Lens
iso 400, f5.6, 1/180 sec
Looking back on it now, it would have been good to reflect a little light back with a reflector. The shadow from her nose is very distinct and dark. But, I didn't have enough time or hands to make that happen.

I think this type of light can also be a little mysterious and moody. That was my goal for the shot below. Converting the image to black and white makes it a little less warm. I suppose I could've taken that further with some cooler toning of the monochrome image, but I kind of like it like this:

Mood, by Reed A. George
Leica M9, Leica Elmarit 90mm f2.8 Lens
iso 400, f5.6, 1/180 sec
So, the next time you see some interesting light in an unexpected place, don't just walk by it. Inconvenience someone you love so that you can get the shot! :).

Thursday, February 21, 2013

Lumix DMC-TS3 and I Go Fossil Hunting Again - Lots of TS3 Images

One of my favorite local activities here in Northern Virginia is fossil hunting. I'm very fortunate to have close friends who really know their Paleontology - both academic and in the field. For more on that -
(Click Here) to go to, my friends' non-profit organization, targeting education in prehistoric science.
So, Jason Osborne and I headed out on President's Day for a day of fossil hunting near Liverpool Point in Maryland. I carried my Lumix DMC-G3 and 100-300 zoom in a backpack all day, never taking it out. I did, however, shoot little vignettes of the day, all day long, with my waterproof Lumix DMC-TS3. Here they are (pretty much straight from the camera):
Bird Tracks, by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, f10, 1/250 and 1/20 sec, respectively
Icicles, by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, 3.3, 1/1000
Yes, it was cold in the morning. However, there was essentially no wind, no cloud cover, and it got up into the 40s later in the day. All in all, the nicest day we've seen in a while.
Duck Blind, by Reed A. George
Panasonic Lumix DMC-TS3
iso 160, f3.3, 1/1000
For some reason, I really like this shot. I knew I liked it when I shot it. Yes, the subject is centered, a compositional no-no. I like the "T" shape made by the combination of the dock and the horizon. I also like the bush sticking out of the roof.
These next two shots seem to me like they could have come from the desert southwest. I'm told this is likely holocene (recent) river bed.
Sedimentary Layers, by Reed A. George
Panasonic Lumix DMC-TS3
iso 160, f10, 1/100 (both shots)
I thoroughly enjoy shooting with the TS3. I used iAuto pretty much all day, which means that I didn't make any decisions other than composition. The small sensor provides lots of depth of field regardless of settings (except in extreme closeups), so I can trust the camera to take care of exposure for me, and not worry about it. On these fossil trips, I'm usually carrying other stuff, and in this case had multiple layers of clothing to contend with as well. Having the little TS3 in my hand was so simple.
Speaking of closeups, again the small sensor and wide focal length lens allow you to get very close. Here are a few examples.
Barnacles (Modern), by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, f10, 1/160
Turritella Fossil, by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, f3.3, 1/250
Tracks, by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, f10, 1/320
Oyster, by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, f10, 1/320
And here's the real goal - a shark tooth. This one was sticking right out of the cliff side. It's nice to find them this way, as the real Paleontologists can see which layer they're in. And, they're not worn down by wave and sand. Beautiful.
Tooth in the Matrix, by Reed A. George
Panasonic Lumix DMC-TS3
iso 100, f10, 1/160
Unlike most days out in the field with Jason, we didn't find anything spectacular on this trip. But, we sure had a good time walking the shore, enjoying some sunshine, and having a laugh or two.
The TS3 was a useful tool for grabbing some images along the way. I hope you enjoy them.
There's a newer version of the DMC-TS3, the TS4. I would recommend this camera for a nice balance of image quality and toughness (including shock resistance and waterproof operation).

Wednesday, February 20, 2013

Ricardson Williams - Fuji XPro-1 Street Photography in China

I'm intensely interested in the directions that Fujifilm is pushing photography. The XPro-1 is a break from the normal, as are several of Fuji's latest cameras. And the excitement continues with the announcement of the X100S. Fuji produces first-rate optics, and has for a very long time. Now they are pushing the standards of sensor technology, and fitting it all into product designs and form factors that appeal to serious photographers.
Ricardson Williams has posted some street shots from where he lives in China, taken with the XPro-1.
(Click Here) to read Ricardson's post on Rangefinder Forum
In my opinion, the Fujfilm cameras do a very nice job with color rendition. What would you expect from the company that brought us Velvia and Provia slide film? Obviously, they translate into black and white just fine, as well.
There is an adapter to mount Leica M lenses to the XPro-1. While I have seen a lot of information about the adapter online, I haven't seen too many pictures with Leica lenses on the XPro. Ricardson's shots were made with the Fujifilm 35mm f1.4. I imagine that the high quality of Fuji's optics, together with the autofocus capability, which you obviously don't get with the Leica M lenses, convinces most people to shoot with the Fuji lenses.
I'm watching for the first reviews of the X100S; it seems that it could be a very nice companion to the Leica M9.

Tuesday, February 19, 2013

I Succumbed to a GAS Attack - Lumix DMC-LX7

If you don't know what GAS is, it stands for Gear Acquisition Syndrome. Most photographers suffer from it. I have it bad.
You probably know that I'm a Panasonic Lumix fan. I've written about my favorite ultra-compact camera, the Lumix DMC-LX5 several times. Up until now, I have refrained from upgrading to the latest model, the DMC-LX7. Yesterday, I gave in and ordered one.
Image Source:
So, if I'm content with the LX5, what made me do it? Well, first off, the LX7 comes with a Pana-Leica Summilux f1.4 lens, a full stop faster than the LX5's Summicron. With small sensors like the one in the LX5 and LX7, high iso noise is always a concern. With an extra full f-stop over the LX5, the LX7 will allow me to stay a full iso level lower, drastically reducing noise. The LX7 also has a CMOS sensor, rather than the CCD in the LX5. This may end up being a compromise, as CCD sensors can yield sharper images, while CMOS is better at high iso. We'll just have to see about that when it arrives.
(Click Here) for a nice review and table summarizing the other differences between the LX5 and LX7 on
The other reason I bought on the spur of the moment? The LX7 is drastically marked down at Adorama. With a list price of $448, it is now available for $150 off at Adorama, for $298. Hard to decline.
Now, here's the only dilemma left for me - do I need the new DMW-LVF2 electronic viewfinder that goes with the LX7? Unfortunately, very unfortunately, the DMW-LVF1 that I have for my LX5 (and for my old Micro 4/3 DMC-GF1) won't work on the LX7. The new one, the LVF2, is supposed to be much better in resolution, but it's also larger. That matters on a compact camera like the LX7.
From my experience with the LX5, I do enjoy the LVF1. However, I would say that I more often use an old optical finder, a Russian model, with the zoom set to 35mm equivalent. This makes a great, bright, fast little street shooter out of the LX5; I expect to do the same with the LX7. So, for now, I'm not buying the LVF2. If I found out that the new DMC-GX2 Micro 4/3 camera (if and when it's finally announced) used the LVF2, then I'd be very tempted. It's not at all clear that will be the case. By the way, the LVF2 isn't cheap. It costs around $160.
There is a great set of information about the LX7 on Panasonic's website, including nice descriptions of the features, galleries of images, and a nice video of Charlie Waite using the LX7 to shoot in Holland.
(Click Here) to see the LX7 on Panasonic's site.
I have been sharing pictures from the LX5 occasionally on the getdpi forum. Some of us are making the transition to the LX7, and there's a relatively new link where others have shared some very nice LX7 images. I will be adding to this thread soon.
(Click Here) to see the LX7 image post on getdpi.
One final clincher for me? The LX7 uses the same battery as the LX5. So, I can use my existing set of batteries!
I anticipate writing my second e-book soon. The one I wrote on how to set up and use the Lumix DMC-G3 has been very popular, with thousands of downloads. So, I'll commit to writing one on the LX7 soon. I'll have to do it soon, as the next model in this line will undoubtedly come around soon. Stay tuned for that.

Monday, February 18, 2013

From the Leica Blog - Emilie Rosson on Photography and the Leica X1

Emilie Rosson
Image Source:
The Leica Blog has an interview with emerging artist and photographer Emilie Rosson, exploring her creative thoughts, and her preference for the Leica X1.
(Click Here) to read the full post on the Leica blog.
I found this article interesting for a few reasons. First off, Emilie is not an accomplished success, with funds to buy any camera she wants. In fact, while she obviously enjoys the 2nd hand X1 that she currently uses, she admits to really wanting a Leica M9. She is also uncommon in that her style is still developing; she's not yet focused on a specialty. In fact, she says that she's currently into portraits, architecture, macro, flowers, and has an emerging interest in street photography.
While Emilie is a self-diagnosed cynic, that does not come through in her images. In fact, they're somewhat joyful. Emilie explains that photography provides her a measure of freedom from her own cynicism.
As a bonus, there's a link to a short video on street photography in the blog entry.
Read the whole story. I find it to be a refreshing break from my own concept of the typical Leica photographer.

Sunday, February 17, 2013

Panasonic Announcement - Is This the Next Big Technology Improvement for Camera Sensors?

In choosing to enter the Micro 4/3 camera format a few years back, I knew that I was making a bet - a bet on how far sensor technology would improve in the near future. I'm sure that most of you know that image quality is generally correlated with sensor size - the bigger, the better. This is why people still compare sensors to "full-frame," which means the 24x36mm size of the image produced in a standard 35mm film camera. Most sensors in cameras less than $10,000 are smaller than that.
So, buy the biggest sensor you can afford, right? Wrong. Some other things are correlated with sensor size - camera (and lens) size, weight, and cost.
So, when Micro 4/3 came along, the question for me was whether or not small sensor technology would likely improve to the point where the Micro 4/3 sensor would perform as well as the benchmark at that time - which for me was the Nikon full-frame sensor. So far, it isn't there. My Nikon D700 is still miles above any Micro 4/3 sensor in terms of image quality. That said, Micro 4/3 has made significant improvement. The latest sensors in the Panasonic Lumix DMC-GH3 and Olympus OM-D are really very good. Even the previous round of technology, like the sensor in my DMC-G3, is pretty darned good. I would say that APS-C sensors (larger than Micro 4/3) are close to the benchmark of older full-frame sensors, and Micro 4/3 is where APS-C used to be. I'm still holding out hope for the next generation of Micro 4/3 sensors to achieve my initial wish, or get much closer.
What does this mean for me, practically? It means that when I must have the very best image quality, especially when shooting in low light, I still grab my Nikon D700. When I'm going to be traveling a lot, and generally shooting in good light, Micro 4/3 is the right choice for me.
One area where companies have been challenging the standard sensor technology is in the color filters on top of the sensors, necessary for making color images. The way color images are formed on most sensors is by using a set of four pixels to capture all of the color information, which is then combined into a single pixel in the resulting image. The standard filter array is called the Bayer filter. The Sigma Foveon sensor and the XTrans sensor from Fujifilm are attempting to improve upon the Bayer filter design with at least some success. Panasonic has announced the development of another technology that could really improve the performance of their sensors by improving how color separation is done. It uses miniature light splitters to deliver specific colors to the sensor, rather than filters.
(Click Here) to read a post about this, and Panasonic's press release, on
The idea here is that the filters used to enable the Bayer concept are lossy - they lose approximately half of the light that hits them, transmitting only half to the sensor. Panasonic's concept uses optical splitters, which can be manufactured using semiconductor processes, to separate the light into its component colors, without so much loss of intensity. If the loss could be cut from 50% to 0% (impossible), that would mean the equivalent of one full-stop of image quality improvement. In other words, if this works extremely well, a picture taken at iso3200 with the Bayer filter could be taken at iso1600, which would give the associated improvement in noise performance.
What is not clear is whether this approach would allow a reduction of the number of sensors in each color pixel to be reduced from four (as used in the Bayer pattern) to three. That could potentially improve the resolution available in a given sensor size.
One could even imagine a futuristic version that scans the splitters during exposure, potentially limiting it to one sensor per image pixel. Now, that's simply imagination on my part - Panasonic has not hinted at any type of scanning splitter. And, it would have to happen extremely fast. But, if you could have it, it would allow image resolution like that available in the Leica Monochrom (which only shoots black and white, providing the ability to use every sensor on the chip for gathering gray level information, and yielding incredible image quality), but with the option to shoot color that the Monochrom does not have.
Or maybe the splitters could be switched off when shooting black and white? That would provide excellent color response when you want it, and improved resolution when you want to shoot black and white. Again, pure conjecture on my part. But wouldn't it be cool?
Oh, by the way. I've been neglecting my Lumix Micro 4/3 gear. So, I'm taking it to the California desert in a few weeks for a one-day workout. More to come on that subject.

Saturday, February 16, 2013

Skeletons From The Closet - Final Results Post From January's Camera - Pentax K1000 in New York City

I took the K1000, SMC Pentax 50mm f1.7, and SMC Pentax 135mm f2.5 lenses with me on a weekend trip to New York City. One of the nice things about living near Washington, DC is that I can grab a very inexpensive bus ride up to the city, even on a normal two day weekend. This time, I went up to meet my long-time friend Michael Williams and his family who were visiting from Australia.
I've already written about the photo tour I joined on that trip, hosted by NYC Photo Safaris. (Click Here) to read about that in my Whole Lotta Leica post. My choice of equipment (Leica M9 with a 1937 5.0cm f3.5 lens, the K1000, and only two prime lenses) did not match well with the class. That said, I still had some fun. Here are a couple of shots that I got using the Pentax during the tour:
Repeated Forms, by Reed A. George
Pentax K1000, SMC Pentax 135mm f2.5
Kodak Tmax 400 Film
Singers in Central Park, by Reed A. George
Pentax K1000, SMC Pentax 50mm f1.7
Kodak Tmax 400 Film
While in the city, I got a lot of walking in, as usual. I love just exploring the city. There's so much to see.
Storefront DJ, by Reed A. George
Pentax K1000, SMC Pentax 50mm f1.7
Kodak Tmax 400 Film
Hanging Out, by Reed A. George
Pentax K1000, SMC Pentax 50mm f1.7
Kodak Tmax 400 Film
Of course, Chinatown was one of my target locations. I love photographing in Chinatown - whether it be in NYC, San Francisco, or even the small version here in Washington, DC. There are always interesting people to meet and photograph.
Far Eastern Bluegrass?, by Reed A. George
Pentax K1000, SMC Pentax 50mm f1.7
Kodak Tmax 400 Film

Columbus Park Morning, by Reed A. George
Pentax K1000, SMC Pentax 50mm f1.7
Kodak Tmax 400 Film

I love how you can see the silhouette of the people practicing Tai Chi in the background on the left. The signs with Chinese characters also help to give a sense of place to this image.

And finally, here is a shot of my friends from Australia: Michael, Adele, Maddie, and Matthew (left to right).

Aussies in the City, by Reed A. George
Pentax K1000, SMC Pentax 50mm f1.7
Kodak Tmax 400 Film

I'm now well into February, and honestly missing my K1000, which is now back in the closet. I haven't had nearly as much time or weather to get out and shoot so far this month. I'll have to concentrate to have some results to show you for this month's Skeletons pick - the Super Ricohflex TLR. I'm sure I'll come up with something.


Friday, February 15, 2013

A Picture I Wouldn't Want to Be There to Take

Russian Meteor
Apparently, an 11 ton meteorite has hit in the Ural Mountains of Russia. Some 500 people reported for medical treatment (30 some were hospitalized), and a zinc factory collapsed, either as the result of a direct hit, or a resulting shock wave.
(Click Here) to read the full story on
Amazing. I suppose we're always in some infinitesimal risk of something like this happening. I've never heard of it happening in my lifetime (maybe it has?).
In any case, I hope I don't look out my windshield this morning on the way to work and see something like this.

Philippine Festivals - Shot by krijtin on with Panasonic Lumix DMC-G3, Plus One of My Festival Shots

krijtin of has posted a series of images captured at two separate festivals in the Philippines. Both were shot with the Lumix DMC-G3. The first, the Sinulog Festival, was covered with the Lumix 20mm f1.7 lens.
Sinulog Festival, by krijtin on
Panasonic Lumix DMC-G3, Lumix 20mm f1.7 Lens
The second festival, Dinagyang, was shot with the G3 and kit lens (14-42mm):

Dinagyang Festival, by krijtin on
Panasonic Lumix DMC-G3, Lumix 20mm f1.7 Lens
I thoroughly enjoy shooting events like this. krijtin has done a nice job with the G3 here, especially with the kit lens, which I find quite limiting due to its small maximum aperture. Here's one I shot at a Japanese Obon festival in Fairfax, Virginia, using the G3 and 20mm f1.7:
Japanese Obon Festival, by Reed A. George
Panasonic Lumix DMC-G3, Lumix 20mm f1.7 Lens
iso 200, f4, 1/125 sec

Thursday, February 14, 2013

Skeletons From The Closet - Pentax K1000 Results, In Color This Time

While using my Pentax K1000 during the month of January, I shot mostly black and white film. However, I did shoot a couple of rolls of color print film as well. Here are some of my color results.
Winter Berries, by Reed A. George
Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens
I had never tried this Pentax zoom lens before. It came with some other lenses I was more interested in. However, at f2.8-4, it's pretty fast. And, it has close focus capability. To me, 40-80mm is sort of a funny focal range, but it does seem to work pretty well. Mine is in excellent condition. I was impressed with the sharpness of the lens.
I took the camera and lens out for a walk during a break from work. We have a walking path that goes down to the river. The bridge is a common subject for me.
Bridge, by Reed A. George
Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens
On this particular winter day, the sky was clear and bright, making for some interesting reflections of the trees that tower over the river side.
Flowing Trees, by Reed A. George
Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens

Flowing Trees, by Reed A. George
Asahi Pentax K1000, SMC Pentax 40-80mm f2.8-4 Lens
The following images were shot during a Japanese New Year event in Washington, DC. Taking advantage of the fast SMC Pentax 50mm f1.7 and iso 400 film, I did a couple of rounds of the event. I found that people were happy to let me photograph them with the old film SLR. I felt like a kid again shooting with it.
Japanese Festival, by Reed A. George
Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens
Japanese Festival, by Reed A. George
Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens
The shot above is an example where I believe that out of focus foreground objects (like on the right side of this image) help to focus the viewer on the true area of interest.
Japanese Festival, by Reed A. George
Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens
I love the warm design on the girl's kimono in the shot above.
Japanese Snacks, by Reed A. George
Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens
Japanese Festival Games, by Reed A. George
Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens
Japanese Festival, by Reed A. George
Asahi Pentax K1000, SMC Pentax 50mm f1.7 Lens
Sometimes I wonder what all of my other gear really adds to my creative pursuit, when I can have so much fun with the first real camera I ever owned, and a couple of lenses. And, the Pentax has capabilities wider than I've explored here. There is a full set of lens options, from very wide to long telephoto. It's a very capable camera system. Of course, other cameras bring different strengths and weaknesses, but the Pentax K1000 is a favorite for a reason.
What a blast to get out and shoot mine after such a long time! Not bad for a 35 year old camera.