A Special Holiday Image from Dennis in Arizona

My good buddy and fellow photographer, Dennis Gallus, recently shot this picture near his home in Southern Arizona.

Dennis shares the following:

 

"For the record, it was taken with the D700 using a 55mm/1.2 Nikon AI lens, 1/40 sec at f/5.6, ISO 6400, -1 stop exposure correction. I did use a tripod."

 

I know, it's not the traditional Santa or Christmas Tree, but it does remind me of the Arizona winter. Clear as a bell, and amazing sunsets. It's even more special that Dennis used the vintage AI lens to take it.

 

Thanks, Dennis! All the best in 2015 to you and your family.

 

DMC-365.blogspot.com

 

 

 

Petroglyph National Monument, New Mexico

One final post of images from my recent trip to Albuquerque, New Mexico. Very close to my hotel, Petroglyph National Monument offered a unique early morning walk before my business meetings started.

 

Petroglyphs are images by native people of the area, made by chipping away at the surface of the basalt rock in the area. The basalt stones were created about 200,000 years ago, when lava flowed 5-50 feet thick over a series of six separate eruptions. These boulders have a thin dark patina layer on their surface, caused by water, sun, temperature extremes, and microbes. It was by chipping away at the outer layer and exposing the lighter stone color underneath that native Americans made the petroglyph images.

 

Petroglyph on the Mesa Top, by Reed A. George

Panasonic Lumix DMC-GX7, Bower 7.5mm f3.5 Fisheye Lens

iso 400, f-stop unrecorded, 1/250 sec.

 

Most of these petroglyphs were made 400-700 years ago. Those from that period ("Rio Grande" style) include human figures, masks, hands, feet, as well as animal shapes and tracks, and geometric designs. Others date back as far as 3,000 years.

 

Various Petroglyphs, by Reed A. George

Panasonic Lumix DMC-G1, Pana-Leica Macro-Elmarit 45mm f2.8 Lens

 

As I've written in other posts, I found the Bower fisheye lens to be very useful on this trip. This was a bit of a surprise for me, as I've always thought of fisheye lenses as gimmicks, for special effects only. On this walk, I carried the GX7 with the fisheye attached, and my backup Micro 4/3 body, the GX1, with the Macro-Elmarit. This made for a very good combination in this particular setting.

 

DMC-365.blogspot.com

 

Photographers Go To Inhospitable Environments To Get the Shot

 

Cactus, Joshua Tree, California, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 20mm f1.7 Lens

iso 160, f4.5, 1/500 sec

 

National Geographic (and other) photographers regularly put themselves into inhospitable environments, and even harm's way, just to get the shot.

 

Most of us know of famous war photographers killed in action, including Robert Capa. (Click Here) for a list of ten famous photographers killed in action.

 

Not all of the dangers are that glamorous. I found this page on the Photo Society's website which lists the hazards that National Geographic photographers have experienced in their duties.

 

(Click Here) to read them on photosociety.org

 

Lots of amoebic dysentery, plenty of hypothermia (frostbite listed separately, which has happened 29 times, 23 for the same photographer). How about two attacks by a Florida Panther - that's two attacks on two different photographers on different assignments - same panther. Spitting cobra attack, anyone?

 

So why did I select the Joshua Tree picture for this post? I actually took a step off-trail into a ravine on this highly-traveled short loop trail and ended up miles off-course. By the time I crossed a road in the desert and convinced someone to pick me up (several drivers refused to even look at me as they drove past), I was on my last ~.25 liter of water. I don't think I would've died out there, so close to civilization and along a road. But, dry and sunburnt in just a couple of extra hours in the desert, it reminded me that the risks are real, especially if we do something dumb like go off-trail in the desert.

 

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Skeletons From The Closet - March's Camera, the Zeiss Ikonta in the California Desert

Here are some results from March's Skeletons From The Closet (SFTC) camera, the Zeiss Ikonta 521/16 folding medium format camera.

 

(Click Here) to read my post describing this camera.

 

You may have seen my post from a few days back, sharing some pictures I took in the California desert with my Lumix DMC-G3. (Click Here) to see that post.

 

I also shot my Ikonta on that trip, and here are some results. I used Fuji Reala color print film, which gives wonderful muted colors. I find it a refreshing way to shoot the desert, which is typically overdone saturation-wise, in my opinion.

 

Wooden Bones, by Reed A. George

Zeiss Ikonta 521/16 Medium Format Folder with Tessar Lens

Fuji Reala Film

 

Palo Verde, by Reed A. George

Zeiss Ikonta 521/16 Medium Format Folder with Tessar Lens

Fuji Reala Film

Cloudy Desert Morning, by Reed A. George

Zeiss Ikonta 521/16 Medium Format Folder with Tessar Lens

Fuji Reala Film

Ryan Ranch, by Reed A. George

Zeiss Ikonta 521/16 Medium Format Folder with Tessar Lens

Fuji Reala Film

Quiet Corner in Palm Springs, by Reed A. George

Zeiss Ikonta 521/16 Medium Format Folder with Tessar Lens

Fuji Reala Film

 

So, how was using the Ikonta during the month of March? It was delightful! I really enjoy the image quality from this old camera. It is in such great condition, I feel that I'm getting the same type of results that the camera could have provided new - maybe better, since film technology has advanced so far since the 1950s.

 

There are some difficulties, however. For one thing, two out of three rolls I've shot so far have been loosely wound onto the takeup spool. I'm not sure why this is happening, but some of the exposures on the roll shown partially here were affected by light leaking down the edges of the backing film, as it didn't wind tightly onto the takeup spool. I've shot two more rolls since then - the first was fine, but the second also came off loose. I'm keeping my fingers crossed that no light leaked in. Look for more results in a week or so, when my negatives come back from The Darkroom.

 

Other than that, just the "normal" challenges of manual light metering and guess focus. I think guessing the focus distance is the most difficult thing. You can see in the last shot here that I don't always get it just right.

I use a do it yourself card that uses your own stereovision (the fact that your eyes are spaced apart from each other, which allows you to judge distance) to estimate distance. If you have a guess focus camera, you need to make one of these.

 

(Click Here) for a website that helps you to make your own rangefinder card.

 

I made mine double-sided, with distance in feet on one side, meters on the other. I carry this card in my wallet, so it's always with me. Great tool.

 

So, it was a blast shooting the Ikonta in March. But, back into the closet she goes! I'll keep practicing my exposure and focus guessing in April, when I'll be shooting an Agfa Solinette folding 35mm camera. I'll be introducing that camera soon in a new post. Stay tuned.

 

DMC-365.blogspot.com

 

Joshua Tree National Park - Lumix In The Desert

 

Prickly, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 20mm f1.7 Lens

iso 160, f4.5, 1/500 sec

 

Desolate, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 20mm f1.7 Lens

iso 160, f5.6, 1/250 sec

 

The detail in the twisted tree in the foreground contrasts nicely with the smooth, weather-worn cliffs. The dry riverbed gives the eye something to follow.

Namesake Joshua Trees, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 100-300mm f4-5.6 Lens at 162mm

iso 200, f8, 1/160 sec

 

The space between features at Joshua Tree makes composition a challenge. In this case, I decided to shoot from afar with the 100-300mm, to compress the Joshua Trees a little closer together in perspective.

 

I decided to put the 45mm f2.8 Macro-Elmarit on and shoot some macros:

 

Wood Detail, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 45mm f2.8 Macro-Elmarit

iso 200, f5.6, 1/25 sec

 

 

Monarch's Demise, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 45mm f2.8 Macro-Elmarit

iso 200, f5.6, 1/30 sec

 

Radial, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 45mm f2.8 Macro-Elmarit

iso 200, f4, 1/320 sec

 

Miniature Flower, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 45mm f2.8 Macro-Elmarit

iso 200, f4, 1/200 sec

 

Skeleton, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 45mm f2.8 Macro-Elmarit

iso 200, f11, 1/60 sec

 

Wherever there is water, life abounds. These are fan palms at a small spring.

Fan Palms, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 100-300mm f4-5.6 Lens at 300mm

iso 200, f5.6, 1/200 sec

 

Ocotillo, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 45mm f2.8 Macro-Elmarit

iso 200, f4.5, 1/800 sec

My trip was a little early in the year for the short-lived desert bloom. The ocotillo (above) was well on its way, though.

 

The desert is an amazing place to shoot. It's challenging. You really have to tune in to see what to photograph. I find it stimulating. It stretches me beyond my normal shooting situations, which is always a good thing.

 

 

Earth's Spine, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5 Lens

iso 200, f5.6, 1/640 sec

Split Rock, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5 Lens

iso 200, f11, 1/320 sec

 

Window To The Horizon, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5 Lens

iso 200, f11, 1/200 sec

Wispy Clouds, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5 Lens

iso 200, f8, 1/320 sec

 

 

This little guy is called a side-blotched lizard:

Side-Blotched Lizard (Uta stansburiana), by Reed A. George

Panasonic Lumix DMC-G3, Lumix 100-300mm f4-5.6 Lens at 300mm

iso 200, f8, 1/1600 sec

 

Even though it was only about 75 degrees fahrenheit on this day, as the sun rose directly overhead at mid-day, it was brutal. I got sunburned much more quickly than I expected. I also stepped off the trail, and got myself into a walk several miles longer than planned. The desert is no place to mess around. Stay on the trail. Period.

 

Mid-day Shadows, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14mm f2.5 Lens

iso 160, f16, 1/200 sec

 

I hope you enjoyed this little tour of the desert. I will take any opportunity to go back and shoot here again.

DMC-365.blogspot.com

 

 

Panasonic Lumix DMC-LX7 - A Few Creative Control Examples

The Lumix LX7 is quite a little camera. With the small sensor size, which makes it possible to produce an amazingly well-featured camera with great fast optics in a very compact package, I usually shoot raw images, so that I can later control the noise levels in post-processing. Hold that that.

 

The LX7 has a plethora of built-in artistic and creative modes, as is common with many compact cameras. Here's the difference - the LX7 allows you to shoot both raw and jpeg files in these modes (except for the fully-automated iAuto mode). This gives you so much flexibility. Any of the creative control effects will be applied to the jpeg file (only), and the raw file remains untouched and ready for your post-processing as you see fit. So, I can actually use the creative controls on the LX7 without feeling that I may be missing the shot.

 

The jpeg processing on the LX7 is a little harsh in my estimation. Therefore, having the unaffected raw files really means a lot to me.

 

I recently took the LX7 on a trip to California, where I visited Pioneertown, a true town constructed by movie producers to make Westerns. It's quite a funky little place out in the desert.

 

(Click Here) to read about Pioneertown.

 

I tried a few of the creative controls, and really decided that I like "Toy" mode. Here's an example.

 

In a Pear Tree?, by Reed A. George

Panasonic Lumix DMC-LX7, Toy Setting

iso 125, f2.8, 1/125 sec

 

You can see that toy camera mode adds significant vignetting (darkening around the edges of the image), muted colors, and I think some loss of sharpness around the edges, while the center remains sharp. Kind of fun.

 

Here's one using the Impressive Art control:

 

Control, by Reed A. George

Panasonic Lumix DMC-LX7, "Impressive Art" Setting

iso 160, f1.6, 1/60 sec

Here's another setting, called "Expressive Art."

 

Desert Office, by Reed A. George

Panasonic Lumix DMC-LX7, "Expressive Art" Setting

iso 80, f2.8, 1/1600 sec

 

So far, I really like Toy mode best.

 

 

Desert Office 2, by Reed A. George

Panasonic Lumix DMC-LX7, "Toy" Setting

iso 125, f2.8, 1/1600 sec

 

All of these images are jpegs, right out of the camera. The final two I decided to shoot in square format, another great setting on the LX7. No adjustments were made to any of these.

 

And, the great thing is, I have the raw files if I want to process them differently! Lots of fun.

 

As promised, I'm nearing completion of my ebook on the LX7. I'll be announcing it soon.

 

DMC-365.blogspot.com

 

 

The best $298 (current price) you'll ever spend on photo equipment - please buy yours through this link:

 

 

Climb! Fun With the Lumix DMC-G3 in the Desert

Climbing, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 100-300 f4-5.6 OIS Lens at 150mm

iso 160, f6.3, 1/4000 sec.

 

I shot this image in Joshua Tree National Park over the weekend. It was the first time I'd had the G3 kit out for a while. After spending so much time with it last year, I guess I needed a break. This trip reminded me just how flexible Micro 4/3 is.

 

In a single waist bag I was able to carry a G3 body, 20mm f1.7, 14mm f2.5, 90mm Macro-Elmarit f2.8 and 100-300mm f4-5.6 lens. Amazing.

 

On the subject of the 100-300mm lens, it's is such a great lens. I was pretty far from the scene above, walking across the flat desert floor. With a very quick change of lenses from the 20mm to the 100-300mm, I was able to capture this moment. Sometimes it's good to not be restrained by your equipment. This shot would not have been the same without the reach of a nice telephoto.

 

I'll be posting more pictures from the desert soon.

 

DMC-365.blogspot.com

 

 

Nice DMC-GH3 Image - Am I Missing Micro 4/3?

Image Source: http://www.mu-43.com/f56/pier-sunrise-gh3-40421/

 

Brian G posted the shot above, taken with the Lumix 20mm f1.7 lens and new DMC-GH3 camera.

 

(Click Here) to read Brian's post on mu-43.com

 

As I've recently written, I have not been exercising my Micro 4/3 gear much this year. Not at all, really. I am beginning to think the only reason is that I have so many other fun choices, and because I overdid it a little last year, focusing too much on that format.

 

I am planning a one day add-on to a business trip coming up, to go shoot in the California desert. In thinking about what gear to take, my first thought was Nikon DSLR. I want the ultimate image quality that the full frame D700 affords me, and everything from wide to macro to telephoto lenses. However, that would be a big, heavy pack. Hmm. Maybe. I think I would likely take a wide (20 or 24mm f2.8), 35mm f2, 50mm f1.4, and one zoom - the 70-300mm AF-S VR. I could cover the wider focal lengths with a single 24-85 zoom, but believe the tradeoff in optical quality makes it less sensible to go Nikon in that case. I am becoming even more dedicated to primes as time passes.

 

Alternatively, I could carry my DMC-G3 kit, with the following lenses: 14mm f2.5 (tiny), 20mm f1.7 (tiny), 45mm f2.8 macro (no macro in the Nikon kit above), and Olympus 75mm f1.8. I get faster apertures, great optics, and a very light kit, particularly if I don't carry a second body. The only tradeoff (and it's a big one) is sensor quality.

 

On the subject of Micro 4/3 image quality, the DMC-GH3 is the top of the line for Panasonic. The shot above is one of very few I've actually seen posted. Maybe it's just early in the GH3 life cycle. But, I have also read that many people don't like the increased size of the GH3. I'm certainly in that boat. If I don't get the tiny size of previous Micro 4/3 cameras (like my G3s), I will certainly carry a full frame Nikon.

 

So, you may see some new Micro 4/3 shots from me in the near future. I think I've recovered from last year's Lumix focus, with some good old Nikon, Leica, and even film camera therapy. I'm ready to get the G3s out again. And I'm still waiting on that DMC-GX2 announcement...

 

DMC-365.blogspot.com

 

 

Roger Coulam on "Travelling Light" on the Leica Camera Blog

Image Source: http://blog.leica-camera.com/photographers/guest-blog-posts/roger-coulam-travelling-light/

 

Traveling with less gear is a common subject on DMC-365. That can mean lighter gear, reduced complexity, or both. This is what initially took me into the world of Micro 4/3 gear - I could maintain a diverse set of lenses, a second body, and lots of other stuff that I may or may not end up using on a particular shoot, while reducing the strain on my back. I have to say that worked pretty well for me.

 

However, because the gear is lighter, I tend to jam more into my bag. For example, I almost never carry a second body when I'm shooting a Nikon DSLR; it is simply too much to carry. When shooting Micro 4/3, I almost always carry a second body. And yes, that allows me to shoot mostly prime lenses, which I love far more than zooms, and minimize switching lenses in the field. But, I must remember my primary goal in using Micro 4/3 - reducing overall weight. A two camera Micro 4/3 kit is still lighter than a similarly-equipped single Nikon DSLR kit, but not by all that much.

 

In addition to reducing weight, if I'm out shooting for pure enjoyment, I'd also like to reduce complexity in my kit. For example, I love to take a single camera, single lens kit on some shoots. For this to work, I must adopt the mindset that I may miss some great shots, but the ones I get should be really, really good. This doesn't work for everything. I would never go this way if I were shooting for someone else.

 

Roger Coulam has written a nice post on this subject for the Leica Camera blog.

 

(Click Here) to read Roger's post.

 

Roger has made an effort to reduce his normal equipment set to one camera - either his Leica MP or a Ricoh GR1V. But then he found himself taking both. Then adding a third camera to the mix. Then a tripod. You can see where this is going.

 

So, Roger's back to trying to simplify again. He finds that it allows him to be more expressive in his work. This sounds paradoxical, as most of us believe that more tools, lenses ranging from ultra wide to super telephoto, for example, will allow us to be more expressive. However, I see Roger's point. Sometimes, having to do the "manual zoom" (walking closer or backing away from your subject) forces you to look at it more closely, and from different perspectives.

 

I am not firmly in either camp at this point - carrying lots of gear to allow flexibility, or carrying a minimum of gear to drive me to be more creative. It truly depends on where I'm going and what I plan to shoot. For example, I'm planning a one-day trip to the desert soon. For that, I imagine some wide angle and telephoto shots. I will take a full Micro 4/3 kit with me on that trip. Soon after, I'm going to Japan for a week. My current plan is to take my Leica M9, maximum of three compact lenses, and my Panasonic Lumix DMC-LX5 pocket camera. If I were going into the city for a morning of shooting, as I often do, I would probably take just the M9 and a single lens.

A Dock, by Reed A. George

Panasonic Lumix DMC-LX5

iso 80, f5.6, 0.6 sec

 

So, I suppose this compromise has no single solution. It's the balance of range of capability and level of pain in my back at the end of the day. However, don't lose sight of the fact that reduced complexity can also free up some creative flow.

 

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