Live Music Concert- Scott Miller at Jammin' Java - Shot With the Nikon Df

Last Sunday (July 19, 2015), I went to a live music show at one of my favorite venues, Jammin' Java, in Vienna. (Click Here) to check out Jammin' Java. They have a very full schedule of interesting shows. Most importantly for this evening, Jammin' Java is indoors. It was still in the 90s and very humid outside, even after sunset.

 

 

Scott is a very interesting guy - professional musician and Virginia cattle farmer. (Click Here) to check out his website.

 

Once again, my Nikon Df is the master of darkness. Shooting with my favorite prime lenses (28mm f1.8 AF-S, 50mm f1.4 AF-D, and 85mm f1.8 AF-D), I was able to shoot at either 1/125 or 1/250 of a second and still have enough depth of field to be useful. This meant iso values of 3200 or even 6400 - no problem at all for the Df. I love this camera.

 

DMC-365.blogspot.com

 

Mink at Jammin Java

I haven't been able to make it to a lot of live music events recently. I did get out on a Tuesday night (!) to see my friends Melissa, Danny, and Rudy of the band Mink play at a local venue, Jammin Java, in Vienna, Virginia.

 

I brought out my new Nikon Df and three prime lenses - 24mm f2.8, 50mm f1.4, and 85mm f1.8.

 

Mink, by Reed A. George

Nikon Df, Nikkor 24mm f2.8 AF-D

iso 5600, f2.8, 1/125 sec.

 

Keeping the camera in Auto-ISO mode, was able to set a relatively fast shutter speed (1/125 sec.) and shoot wide open with any of the three lenses. As you can see, iso 5600 is just no problem at all for the Df. Actually, 12,800 isn't too bad.

 

Melissa and Danny, by Reed A. George

Nikon Df, Nikkor 85mm f1.8 AF-D

iso 2800, f2, 1/125 sec.

 

It felt good to get out and see my old friends, even for a quick set on a weeknight.

 

(Click Here) to find out more about Mink.

 

(Click Here) to find out about Jammin Java.

 

DMC-365.blogspot.com

 

 

My Watermelon Park Festival Report on Cosmic Vibes Live

I've been collaborating with Jeff and Jim over at Cosmic Vibes Live for a few years now. I've recently posted a report from the 2014 Watermelon Park Festival, held in Berryville, Virginia with them.

 

(Click Here) to read the report. The lineup this year was amazing, with Keller Williams, The Keels, Sam Bush, Leftover Salmon, and so many others.

 

Watermelon Park Fans, by Reed A. George

 

I shot the entire show with my Nikon D700 and prime lenses. The D700 still rocks, even though it's getting a bit on the mature side. This experience does make me want the awesome retro-styled, D4 sensor-equipped Nikon DF even more.

 

DMC-365.blogspot.com

 

Studio Shoot with Musician Danny Knicely

Danny Knicely is one of the most productive and talented musicians I know. Danny is a mandolinist, violinist, guitarist, and I'm sure capable on instruments I haven't listed here. He's a member of Furnace Mountain Band, one of the best I know.

 

(Click Here) to see one of my posts on Danny, where he led a mandolin workshop with other legends Sam Bush and Drew Emmitt.

 

A few weeks back, I was thrilled to get a message from him, asking if I could help in making some promotional images for him. He wanted some images of himself to use in promoting his latest effort, a CD called "Waltz for Aimee." He also wanted some images of his classic guitar collection, including several Martin guitars, much older than either he or I.

 

Of course I was happy to oblige, and decided to rent a local photo studio for the project. I've had an increase in requests for this type of work recently, and hope to see that continue. I really enjoy it.

 

Anyway, here are a few of my favorite shots from the photo session.

 

 

 

 

I shot all of these with my Nikon D700 and prime lenses. I mostly relied on the 50mm f1.4 AF-D and 85mm f1.8 AF-D lenses. Using a relatively simple three light setup, supplied with the studio, I feel that I did a decent job with balancing the lighting overall. Getting the hairlight right on the images with a black background is something I've learned from previous sessions. This time, I struggled somewhat with the relatively narrow backdrop, even with shooting just one person and his instruments. This would become more of an issue shooting a multi-person band. I also need to focus on lighting the backdrop better for the white background images. I believe it's important to learn something from every shoot.

 

That said, I'm satisfied overall with the outcome. It was really a pleasure to spend some time with Danny and help him to promote his excellent musical talents.

 

DMC-365.blogspot.com

 

 

 

New Kodak Lenses for Micro 4/3? This Could Be Cool.

Image Source: http://throughavintagelens.com/2009/11/selecting-a-vintage-camera-ii-kodak-cameras/

Attributed There to Duke University Collectin

 

No longer the case, in the past Kodak was known for lenses, and some really good ones. We may again see the name associated with good optics.

 

The great blog "The Phoblographer" is reporting an interesting find from the Photo Expo 2013 show. Apparently, Sakar, who has purchased at least some rights to the Kodak name, brought some pre-production lenses for Micro 4/3 to the show. It sounds like there was not much emphasis on them at the booth, which could mean it's just a fishing expedition by the company, and may not go anywhere. I hope that's not the case.

 

(Click Here) to read about it on The Phoblographer. They show pictures of three Kodak-branded lenses: a 25mm f0.95, 50mm f1.1, and 8mm f3 fisheye.

 

All manual focus lenses, these could be a lot of fun. It's difficult to tell if this will ever really materialize, but in any case, it's nice to see that the Micro 4/3 format is attracting lens designers to try new things.

 

Cosina Voigtlander and SLR Magic are already making nice manual focus lenses for Micro 4/3. I welcome competition in the market, as it can only help us as photographers to have more options.

 

DMC-365.blogspot.com

 

 

 

New Pana-Leica Lens! 15mm f1.7 Summilux Aspheric

Pana-Leica 15mm f1.7 Summilux

Image Source: http://panasonic.net/avc/lumix/pressrelease/leica_dg_summilux_15/

Well, it seems that Panasonic and Leica's collaboration continues. I'm pleased to hear it.

While I'm anxiously awaiting the arrival of my newly-ordered Lumix DMC-GX7, Panasonic has just announced the latest addition to the Pana-Leica lens set for Micro 4/3. While 30mm equivalent field of view is a little odd, being neither here nor there between 28mm and 35mm traditional fields of view, I'm sure it's going to be a great lens. It will be a nice addition to my 25mm Summilux and 45mm Macro-Elmarit. A tiny three lens prime kit that covers lots of ground.

As you probably know, I am a Leica nut. I have been focused on shooting my M9 this year, which is appropriate given the investment I made in it. I didn't want to stray from Leica, but my Micro 4/3 lenses have been calling me, albeit with a muffled voice, from inside my equipment drawers. So, I decided to jump back in with the purchase of a DMC-GX7 camera. Now it seems I can really have the best of both worlds - the latest Lumix features and Micro 4/3 size advantage with the highest quality Pana-Leica lenses.

Exciting times in photo equipment!

Now, please, Panasonic. Please ship my GX7!

DMC-365.blogspot.com

Watermelon Park Festival, 2013 - Shot With Nikon D700

I've been shooting a lot of live music and local musicians over the past few years. It's a wonderful project, and has helped me to meet a lot of great people, musicians and fans alike.

Every September, I look forward to the Watermelon Park Festival, held in Berryville, Virginia, about an hour from my home. It's a great time of year to be outdoors, camping, listening to great music. This year was no exception.

There will soon be a review of the festival written by Jim McWalters on the live music blog Cosmic Vibes Live. It will include photos from both Jim and myself.

(Click Here) to check out Cosmic Vibes Live.

Here are my pics from the festival.

Impromptu Music with David Van Deventer, Danny Knicely, and Jared Pool, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 1600, f2, 1/125 sec.

The Plank Stompers, by Reed A. George

Nikon D700, Nikkor 85mm f1.8 AF-D Lens

iso 400, f4.8, 1/250 sec.

The Bumper Jacksons, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 3200, f1.4, 1/250 sec.

The Green Boys, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 800, f4.8, 1/125 sec. With Fill Flash

The Green Boys, by Reed A. George

Nikon D700, Nikkor 85mm f1.8 AF-D Lens

iso 800, f4.8, 1/125 sec. With Fill Flash

Watermelon Boat Float!, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 400, f8, 1/250 sec.

 

Dwayne Brooke of The Woodshedders, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 3200, f1.7, 1/125 sec.

Dwayne Brooke and Jared Pool of The Woodshedders, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 3200, f1.7, 1/125 sec.

David Van Deventer of The Woodshedders, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 3200, f1.7, 1/125 sec.

Dwayne Brooke and Jared Pool of The Woodshedders, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 3200, f1.4, 1/125 sec.

Larry Keel, by Reed A. George

Nikon D700, Nikkor 85mm f1.8 AF-D Lens

iso 1600, f2, 1/180 sec.

Larry Keel, by Reed A. George

Nikon D700, Nikkor 85mm f1.8 AF-D Lens

iso 1600, f2, 1/180 sec.

Aimee Curl and Danny Knicely of Furnace Mountain Band, by Reed A. George

Nikon D700, Nikkor 85mm f1.8 AF-D Lens

iso 800, f2.8, 1/125 sec.

 

Hoopin' It Up!, by Reed A. George

Nikon D700, Nikkor 50mm f1.4 AF-D Lens

iso 800, f2.8, 1/2 sec.

 

 

This festival presents a lot of opportunities to test my photographic skills. This year, I took the D700, 20mm f2.8, 50mm f1.4, and 85mm f1.8 autofocus lenses. I shot in daylight, dark, with and without flash. The flash came in real handy in the dance tent during the day, as in the Green Boys shots above.

 

I will admit that I was a pretty lazy photographer on this particular weekend. This festival has become a great relaxation for me. I guess that's a pretty good thing in itself.

 

I do have some film shots, taken with my Leica CL and Rokkor 40mm f2.8, but the film is off at The Darkroom for processing. I'll share those later.

 

DMC-365.blogspot.com

 

This book (below) includes some great festival photography, including some by my buddy J. Milo Farineau.

 

(Click Here) to go to Milo's site. He's a master.

 

 

Suryo Widjaja Shares Olympus OM-D Photos From Myanmar on Steve Huff Photo

Image Source: http://www.stevehuffphoto.com/wp-content/uploads/2013/08/Semedi.jpg

 

Photographer Suryo Widjaja has written a guest piece on Steve Huff's blog, sharing several wonderful images he took in Myanmar in January of this year.

 

(Click Here) to read Suryo's post on Steve Huff's site.

 

Myanmar is definitely on my bucket list. I know a couple of people who've been able to gain entry to the country for tourism, and they have a lot of great things to say about the place. Anywhere that measures "Gross National Happiness" sounds okay to me.

 

Suryo reports that he took two Olympus OM-D bodies on the trip - his most-used lens was an Olympus 17mm f1.8, second was the Olympus 75mm f1.8. His 12mm saw little use. I have the 75mm f1.8, and it's a keeper.

 

I am about to take a week long vacation, and I'm planning to take my Leica M9, 35mm Summicron, and a medium telephoto (likely my Canon 135mm f3.5 LTM). This post encourages me to travel light, and my choice of lenses closely matches the field of view of Suryo's lenses on his Micro 4/3 gear. Of course, I'll carry the diminuitive Lumix DMC-LX7 as well. So much capability in such a small package simply cannot be left behind. Plus, it gives me closeup capability not available in the M9, at least not easily.

 

Suryo has shown how much you can do with two lenses. I'm impressed.

 

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

 

 

Backstage at Danny Knicely's Big Winter Concert! Nikon DSLRs Are Unbeatable in Challenging Light

 

On Friday, January 25, 2013, I had the great fortune to be on the guest list with backstage access for Danny Knicely's Big Winter Concert, held at Franklin Park Arts Center in Purcellville, Virginia. This year's concert featured Danny Knicely, Aimee Curl, Nate Leath, and Darren and Matthew Olwell.

(Click Here) to read more about Danny Knicely's musical pursuits. He does a Big Winter Concert every year. Each one is different, and this year's was a blast.

I shot this show with two Nikon DSLRs - my trusty D700, and a D300, which I picked up a while back from KEH for a spare. Other than the difference in sensor sizes, the two cameras are nearly identical. All of the controls are in the same places, with the exception of how you open the little cover to the CF card slot. I can live with that. The D300 is not quite as good as the D700 at high iso levels, so I wasn't sure how happy I'd be shooting it at this show.

Making the Set List

 

It Goes Something Like This...

 

Aimee Curl on Bass

 

Darren Olwell Amongst Cables and Instruments

 

Nate Leath Working the Bow (my favorite shot of the evening)

 

Aimee and Danny

 

Audience and Family Members Joining the Fun Onstage

 

It Really Is Winter Here

 

Franklin Park is a spectacular place for attending performances.

 

(Click Here) to go to Franklin Park's website.

 

So, how did it turn out, photographically? Since I carried both the D700 and D300, I was able to use primes, and carried only the Nikkor 24mm f2.8 AF-D, Nikkor 50mm f1.4 AF-D, and Nikkor 85mm f1.8 AF-D lenses. The 85mm stayed on the D300 all evening, taking advantage of the crop factor of the smaller sensor. In shooting performances here before with the D700 alone, I have always carried along the awesome Nikkor 180mm f2.8 AF lens as well. I didn't need it at all this time.

 

On the D700, I shot the 24mm much more than the 50mm, but did use both. The wide angle of the 24mm lens on the D700s full frame sensor really made shooting in the tight spaces backstage very easy.

 

Most of my shots throughout the evening were taken at iso 3200. Yes, I can see a difference in the noise with the D300, but at iso 3200 it cleaned up very nicely and easily in Lightroom. The final shot above was taken at iso 6400 with the D700.

 

I thoroughly enjoyed using the two Nikon bodies in tandem. It was nice to reduce how often I had to change lenses, which is a weakness of using prime lenses, rather than zooms. However, the primes are faster, sharper, and lighter than zooms. I am very pleased with the results.

 

I also enjoyed every minute of the performance, and hanging out with these extremely friendly musicians. I feel very fortunate to know them.

 

DMC-365.blogspot.com

 

 

Fear of Street Photography? I Don't Have It, But I Understand It.

 

The Smile, Greenwich Village, NYC, by Reed A. George

Leica M9, Leica Summicron 50mm f2

iso 320, f5.6, 1/125 sec

 
I don't have a fear of taking photographs of people on the street. Of course, there are situations where I decide that someone may react negatively, and in those cases, I don't take the shot. In general, though, I don't have much problem with it.
 
I seem to alternate between taking candids of people without talking to them, as in the shot above, and other times like to talk and get permission. The two approaches give very different feelings. Here's one where I asked permission, taken within less than a block of "The Smile:"
 

Hipster Glasses, by Reed A. George

Leica M9, Leica Summicron 50mm f2

iso 320, f6.7, 1/125 sec

 
I like both of these images, and really neither one better than the other.
 
If you do suffer from anxiety about shooting street photography, you may want to read a recent post by Jim Maher on digital-photography-school.com.
 
(Click Here) to read Jim's post. He's also advertising an eBook. I haven't ordered it, but I may give it a try. I don't know Jim, or have any connection to him or his book sales.
 
Jim suggests seven steps to help get comfortable with street photography:
 

1. Street portraiture (ask permission) - We've already discussed this one.
2. Pick a spot and let them come to you - This is a good strategy, but I don't find it any less confrontational than walking and scouting.
3. Use a small, wide angle lens - I agree that small lenses are less threatening. Be careful with the wide angle part, though. They require you to get very close to your subjects. For street, I generally prefer a 50mm lens, or 35mm at the widest, unless I really feel like getting up close to people.
4. Shoot from the Hip - Yeah, that can work very well. It won't help you get over your fear, though.
5. Pretend you're shooting something else - I do this all the time. Good technique.
6. Be confident - Hmm. Okay. At least, don't look like a stalker or a spy; people will notice you.
7. Choose your subjects carefully - Sure. Of course.

So, get out there and give it a try! The worst I've ever had to do was delete a shot for someone. And that was because I didn't feel strongly enough to stand up for my rights. And, the shot wasn't that good anyway... DMC-365.blogspot.com
 
 

My Report on Floyd Fest Featured on Cosmic Vibes Live Music Blog

 
 

 

The Crane and the Kids, by Reed A. George

Panasonic Lumix DMC-G3, Lumx 12-35mm f2.8 at 12mm

iso 400, f5.6, 1/125 sec

 
I love music festivals. I recently attended Floyd Fest in Southern Virginia. I wrote up a report for the music blog Cosmic Vibes Live.
 
(Click Here) to see my report on Cosmic Vibes Live.
 
(Click Here) to see my picture gallery on Cosmic Vibes Live.
 
I really enjoy photographing and writing together. My music project has afforded the opportunity to work with the great guys at Cosmic Vibes Live. It's a no-stress affair, with both sides appreciating what the other brings. I look forward to doing more and better reports for them in the future.
 
This was my first (and last) outing with the Lumix 12-35mm f2.8. I think it did a nice job. I just prefer shooting with primes.
 
DMC-365.blogspot.com
 
 

Andy Hendriksen Reports Why He Sold His Nikon DSLR In Favor of the Olympus OM-D

 

Olympus OM-D

Image Source: http://www.olympusamerica.com/cpg_section/images/product/1583/360/000_000.png

 
Andy Hendriksen has written a full report on why he has made the shift completely away from DSLR to Micro 4/3 equipment.
 
(Click Here) to read Andy's report on The Phoblographer.
 
Andy explains how the advent of the Panasonic DMC-GF1 a few years back immediately drew his attention (and a purchase), but was not enough to convince him to sell his Nikon DSLR. This had to do with two major points: 1) performance of the GF1 itself, particularly low light performance and autofocus speed, and 2) a lack of a complete lens set. That said, Andy indicates that he thoroughly enjoyed the GF1, and took it many places that his DSLR would not have gone.
 
Andy feels that the Olympus OM-D represents the tipping point in performance that allows him to replace his DSLR with Micro 4/3 equipment. Timing is also right for him, as there is now a nearly complete stable of lenses available.
 
Like me, Andy was intrigued by the Fuji XPro1 camera, which is a mirrorless system camera, but not Micro 4/3 format, but decided not to go that way because of some performance points, and because there are less lenses available.
 
Andy settled on the OM-D body and the following lenses: Olympus 12mm f2, Pana-Leica Summilux 25mm f1.4, and Olympus 45mm f1.8. He sold his Nikon kit. So far, he's very pleased with his decision.
 
I have not gone as far as Andy. My choice of bodies was the DMC-G3, which I am still quite pleased with. I find the autofocus to be very fast, the options myriad and useful, and the low light performance a giant step up from my previous DMC-G1 and GF1. I should say that both the G1 and GF1 are great cameras, but the new generation surpasses them. My lens kit is not far off from Andy's, either. I lean heavily on primes, most notably the Lumix 14mm f2.5, Pana-Leica Summilux 25mm f1.4, and Pana-Leica 45mm f2.8 Macro-Elmarit. I thought the Summilux would not replace the excellent Lumix 20mm f1.7 for me, but it all but has, even though they're quite different lenses.
 
I am planning to add an expensive new lens to my kit, which will be my first Olympus lens - the 75mm f1.8, as soon as it's available.
 
All that said, I am not ready to sell my Nikon D700 DSLR. In fact, last weekend, I shot both kits at a music festival, and each has their merits. They are not interchangeable. I shot the G3s all day long, then switched to Nikon for the evening shows. Part of this was because I have longer lenses in Nikon, and used my 300mm f4 Nikkor quite a lot. Thinking this way, the new 75mm f1.8 from Olympus would have allowed me to leave the much heavier and more obtrusive Nikon kit at home.
 

Jack Pugh of Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3

 
However, any way I look at it, the D700 still significantly outperforms the G3 in image quality, and several other aspects. When I look at some of those images from the D700 over last weekend, the quality is astounding. So, no, my D700 isn't going anywhere.
 

Iron Horse Band, by Reed A. George

Nikon D700, Nikkor 300mm f4 AF-IF

 
I have come to consider my Micro 4/3 kit (DMC-G3 and a few primes) as my new 35mm film equivalent kit. The Nikon D700 is my medium format film equivalent. I fully believe that it provides every bit as much image quality as my medium format film cameras ever did.
 
Don't get me wrong - this is not an advertisement of full satisfaction with the Nikon DSLR. If it were, this blog would not be about Panasonic and Micro 4/3 gear. The Nikon gets a tiny fraction of the use of my G3s, in large part due to weight and size. But, one does not replace the other. I'm not sure it ever will.
 
This does leave me wondering exactly where to draw the lines of lens selections for Micro 4/3. The case in point is the new Panasonic Lumix 12-35mm f2.8. This lens is very expensive, especially for Micro 4/3. I don't know if I'm ready to drop that kind of money on a fast zoom for Micro 4/3, or whether I will stick primarily with the excellent prime lenses I already have, plus the new Olympus 75mm. No question, the primes are great. The zoom could be an excellent solution for travel. I'm not sure where I'm going with this one, but my wallet is warming up in my pocket as I write...
 
DMC-365.blogspot.com