Another Shot at Light Painting Cherry Blossoms with the Nikon Df

Referring to my post from two days ago, I decided to get back out with the cherry blossoms after dark one more time this year. Fighting my allergies, last remaining vestiges of jet lag from the Japan trip, and worries that my neighbors would wonder why this crazy guy was shining his flashlight up into the trees for an hour or so, I went for it. Here are my favorite light painting shots of the cherry trees this spring.

 

Falling Blossoms #1, by Reed A. George

Nikon Df, Nikkor 35mm f2 AF-D Lens

iso 100, f11, 479 seconds

Falling Blossoms #2, by Reed A. George

Nikon Df, Nikkor 35mm f2 AF-D Lens

iso 100, f11, 357 seconds

 

Yes, it took me 6-8 minutes per shot to do all of the light painting you see here. I had to paint the trunks of all three trees, then the branches. Then, I did the falling blossoms (several per tree). All with one flashlight. I think it was worth it. I feel that I succeeded in making something unique if not beautiful. At least they're not just one more series of straight shots of cherry trees. And through the process, I learned some of what not to do as well as what kind of works in this type of photography.

 

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Everyone, I Mean Everyone, in Japan Loves Cherry Blossom Season

Even the dogs...

Dogs Enjoying Sakura, by Reed A. George

Nikon Df, Nikkor 35mm f2 AF-D Lens

 

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Cherry Blossoms, Light Painting, with the Nikon Df

I have the opportunity to shoot cherry blossoms every year, usually in both the Washington, DC area, and in Tokyo. Very different opportunities, of course, but each very nice.

 

I find that when a subject becomes routine to me, I am challenged to make pictures that are interesting to me, and probably to anyone else who's looking. A few years back, a friend and I started to experiment with light painting the cherry trees (using flashlights to artificially light the trees in the dark). I feel that I've gotten better at this over time. Here's the first shot I was happy with from a quick outing last night with the Nikon Df.

Light Painting, Cherry Blossoms, by Reed A. George

Nikon Df, Nikkor 35mm f2 AF-D Lens

iso 100, f11, 131 secs exposure

 

Having gotten the first shot I had in mind, I started playing around with other ideas. First, I tried adding some red light (two small red light flashlights, one in each hand).

 

Light Painting, Cherry Blossoms, by Reed A. George

Nikon Df, Nikkor 35mm f2 AF-D Lens

iso 100, f11, 231 secs exposure

 

Okay, I guess, but nothing special. Then, I got an idea. I've always wanted to photograph the blossoms falling from the trees, or at least represent that concept. So, I grabbed a small branch of blossoms and used the flashlight to light it as I simulated it falling from the tree. Here's what that looks like.

 

Light Painting, Cherry Blossoms, by Reed A. George

Nikon Df, Nikkor 35mm f2 AF-D Lens

iso 100, f11, 202 secs exposure

 

Then, I decided to try more of that, switching from the 35mm to 24mm Nikkor.

 

Light Painting, Cherry Blossoms, by Reed A. George

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

iso 100, f11, 435 secs exposure

Light Painting, Cherry Blossoms, by Reed A. George

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

iso 100, f11, 384 secs exposure

These are kind of cool, and probably my favorites from the evening.

 

Then, I decided to put it all together. Maybe it's a bit much, but here it is.

 

Light Painting, Cherry Blossoms, by Reed A. George

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

iso 100, f11, 486 secs exposure

 

This was an interesting evening of experimentation. It gives me ideas for some further exploration, but I have to do it fast; the cherry blossoms won't last long.

 

At least these aren't just like every other cherry blossom shot I see every year.

 

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Luis Gomez Finds Spring in Washington, DC

Image Source: http://www.onephotographaday.com/2014/04/spring.html

 

So, first I need to tell you that I wrote this post on April 6. There's usually a delay between when I write and when the post goes up on DMC-365.

 

I put some effort into finding cherry blossoms, the official sign of spring coming to Washington DC, this weekend. First, I went to Meadowlark Gardens in Vienna, Virginia. Nothing. Nadda. I was surprised. Today, my lovely wife and I fought the traffic to get into DC proper. While I must admit there are some trees blooming, it's very far from peak (or at least what peak has looked like in past years). In fact, we decided not to park after all that, and instead drove to Georgetown for some nice tea and conversation. I shot a few film images there, so more on that in a week or two.

 

I'm heading to Tokyo in about a week. We try to go every year to visit family. My usual routine is to see the blossoms here in DC, hop on a plane, then see them in Tokyo. That may not happen this year. It seems like the peak has already passed in Tokyo. Oh well, you can't win them all.

 

By the way, Luis Gomez (who took the picture above) runs a very consistent 365 day photo posting blog from Washington, DC. I've been enjoying his work for a couple of years now.

 

(Click Here) to go to Luis' blog.

 

Oh, and (Click Here) to see some gorgeous cherry blossom shots from Yahoo Japan.

 

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Cherry Blossoms From A Different Perspective - Leica M9 and Voigtlander 12mm f5.6 Ultra Wide Heliar

I live in the Northern Virginia, about an hour from Washington, DC. DC's cherry blossoms are really quite impressive, but as in other places, they don't last long. They are currently at their peak, but I just haven't been able to find the energy to get downtown on a weekday evening to shoot them. Maybe this weekend.

 

The good news is that I have some nice cherry trees in my neighborhood. Small, but nice.

 

On the way home from work today, I decided to try to capture them from a different perspective - up high, with an ultra wide angle lens. So, I mounted up my Voigtlander LTM 12mm f5.6 Ultra Wide Heliar lens on my Leica M9, and connected both to a monopod. Then I grabbed a step ladder and headed out. These three shots are the result of putting the camera right into the cherry blossoms with the monopod, and using the self-timer to trigger the shutter.

 

Sakura Up High #1, by Reed A. George

Leica M9, Voigtlander Ultra Wide Heliar 12mm f5.6 Lens

iso 640, f9.5, 1/60 sec.

 

Sakura Up High #2, by Reed A. George

Leica M9, Voigtlander Ultra Wide Heliar 12mm f5.6 Lens

iso 1250, f6.7, 1/180 sec.

 

Sakura Up High #3, by Reed A. George

Leica M9, Voigtlander Ultra Wide Heliar 12mm f5.6 Lens

iso 640, f4.8, 1/90 sec.

 

The Ultra Wide Heliar is a very specialized lens. Advertised as the widest rectilinear (non-fisheye) lens for full-frame 35mm cameras, it's not a lens that gets every day use. It's so wide that you nearly have to touch the subject with the lens for it to take up any significant portion of the image area. It is also pretty slow, with a maximum aperture of f5.6. But, it has basically infinite depth of field, so the fact that focusing is not accomplished through coupling to the Leica rangefinder is really not an issue. Just set the focus and forget it.

 

It also has pretty significant color shifting (magenta and blue at the extreme image edges) and some vignetting (darkening in the image corners). For both reasons, and because I like the composition this way, I decided to crop the images as squares. I set the lens code on the M9 for the Wide Angle Tri-Elmar (16-18-21mm) at 16mm, which is the widest angle lens setting in the camera.

 

I found a website that describes software ("Cornerfix") that elminates the color shifting. They also suggest selecting the 21mm f2.8 lens code in the M9 when using the Ultra Wide Heliar. I'll have to try that.

 

(Click Here) to read about Cornerfix. I have not tried it.

 

You can also see that I applied some negative vignetting to get the white corners. Again, just because I like it that way.

 

A nice diversion for shooting an hour or so after work in the evening. I hope you enjoy the view.

 

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My Ultra Wide Heliar is the older Leica Thread Mount (LTM) version. Here's a link to the newer Leica M-mount version. Either is adaptable to Micro 4/3, yielding a nice but not crazy-wide 24mm equivalent field of view.

 

 

G3 Shots from Springtime in Japan (Sakura)

 

Sakura, by xellz on mu-43.com

Panasonic Lumix DMC-G3

Image Source: http://www.mu-43.com/f56/uploaded-several-sakura-views-30847/#post302139

 
xellz posted a few shots from last spring in Japan, shot with a Panasonic Lumix DMC-G3.
 
(Click Here) to see the whole post on mu-43.com.
 
I think the framing in the shot above is expertly done. The exposure here must have been tough. The sakura (cherry blossoms) in the foreground could be a little brighter, but with the full sun in the frame, it would be difficult to accomplish that without blowing out the exposure throughout the whole sky. In fact, this shot would be an excellent candidate for high dynamic range (HDR) imaging - where you combine mulitiple shots to get the exposure you want in each portion of the image.
 
Here's a shot I took in Japan last spring:
 

Contemplating Springtime, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 25mm f1.4 Summilux

iso 160, f2, 1/2500 sec

 
I could have benefitted from a slightly smaller aperture on this shot. I would like the hand to be in sharp focus, as the face is. However, I wanted the sakura to be out of focus as they are. In fact, I love how they turned out.
 
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Best Little Sushi Shop in Tsukiji

Sakura Ebi Soup, by Reed A. George

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

iso400, f2.5, 1/40 sec

 

If you live in the United States, you probably know how the best of certain types of restaurants (e.g. barbecue) are usually deceiving in their appearance. Somehow, the best BBQ comes from that "hole-in-the-wall" place on the backstreet. You know, the one you're a little scared to walk into?

 

Well, it's not so different with restaurants in Japan. This little shop is literally adjacent to the Tsukiji fish market, the world's largest seafood market, located in Tokyo. Looking out the front door of this place, you can see the market stalls directly outside.

 

Tsukiji Sushi Restaurant, by Reed A. George

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

iso400, f2.5, 1/160 sec

 

Japan is full of tiny restaurants. While this isn't the smallest sushi restaurant I've ever been in (I think that one sat about four or five customers), this one's not huge, by any means. I think it seats eight diners.

 

Tsukiji Sushi Restaurant, by Reed A. George

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

iso400, f2.5, 1/50 sec

This place served up some of the best sushi I've ever eaten. Literally. I'm sure that fresh fish comes in directly from the market every day, and it shows. The selection was awesome. For example, one of the tell-tale sushi pieces is sea urchin (uni, in Japanese). If it is fresh, it is sweet and tasty. If it's even a little past its prime, it's awful. Here, it was downright transformational. Another for me is squid (ika, in Japanese). This place's squid is tender and tasty. Anyway, I digress.

And, my dining company was great as well. Here's three generations of the ladies in the family - my daughter, wife, and mother-in-law:

Three Generations, by Reed A. George

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

iso400, f2.5, 1/30 sec

The Lumix 14mm really worked well in this tight situation. It was wide enough to allow me to shoot in close quarters, and fast enough to keep the iso at 400, very safe territory for manageable noise with the DMC-G3.

 

I hope you enjoyed this little description of a memorable lunch with my family. Thanks for humoring me.

 

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Love Gun! Something in Common to Laugh About With a Stranger.

 

Love Gun! by Reed A. George

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

iso160, f2.8, 1/320 sec

I've told you before that one of my objectives is to better connect with people in the places I visit. Well, here is an example.

Japan is not the easiest place in the world to meet people casually. This guy was the exception. We met in Hibiya Park in Tokyo, where we were both admiring the spring bloom (see the background). He was happy to practice a little English, and was surprised to find that I could speak a little Japanese. "You have shocked me," I believe was his expression.

Anyway, in quickly looking for things we may have in common to talk about, he brought up the rock and roll band "Kiss." He then proceeded to sing me the lyrics from their song "Love Gun," which I had all but forgotten. He was a little shy about letting me take his picture, but by the second exposure, above, he had gone back into his Paul Stanley (Kiss guitarist and vocalist) act.

It brightened my day to have this little conversation, and get this picture of him. We walked away not knowing each other's names, but both with smiles on our faces. Good fun.

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And The Weather Report Told Me To Stay Inside! Cherry Blossoms in Washington, DC.

 

Jefferson Memorial, by Reed A. George

Panasonic Lumix DMC-G3, Pana-Leica 25mm Summilux f1.4

iso160, f11, 0.3 sec

 

Well, it is a rainy weekend here in Washington, DC. But, I knew that overcast weather would make for some nice diffuse lighting. And, since I will be out of town soon, I don't have many more opportunities to see the cherry blossoms in DC this year. So, I decided to brave the weather, and be there at sunrise. I hope you'll agree that the trip was worth it.

 

By the way, it is the 100th anniversary of the original gift of cherry trees from Japan.

 

 

Cherry Blossoms, by Reed A. George

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

iso400, f4, 1/30 sec

The foggy morning light really allowed the subtle colors of the cherry blossoms to pop. In fact, I had to tone them down a little in post-processing, as they looked a little cartoonish to me.

Cherry Blossom Bouquet, by Reed A. George

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

iso160, f2.5, 1/40 sec

I think the image above is my favorite of the morning. Those blossoms on the tree trunk were completely natural, but looked like a florist had arranged them there. Of course, as I was shooting it, another photographer walked right up with his DSLR and snapped it over my shoulder. Oh well, I guess I don't own DC, do I? Actually, I hope he got a nice shot.

Petals in the Tidal Basin, by Reed A. George

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

iso160, f16, 1 sec

 

In the shot above, the water looked very grungy. So, I changed the white balance a little blue to compensate; I may have gone too far.

 

 

Contrasting Reds, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 140mm

iso400, f5.8, 1/50 sec

In the image above, I enjoy the way the tree trunks in the boke in the background form a leading line. Without that, this image would be very flat.

Vintage Postcard Look, by Reed A. George

Panasonic Lumix DMC-TS3, "Pinhole Camera" scene mode

On Camera Flash, iso640, f5, 1/60 sec

I also took the opportunity to play with the DMC-TS3 this morning, using a preset called "Pinhole Camera." This made the image have a dark vignette around the edges, which I replaced in Lightroom with white. I like the effect. Not to be used every day, but kind of cool in this case.

 

 

Soft Pinks, by Reed A. George

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

iso400, f2.8, 1/500 sec

I like how this image shows blossoms that range from right at their peak bloom to those already missing their petals. I also love the soft pink colors, and the nice out of focus areas. That is why I chose this as the closer for this post.

I sure am glad I didn't listen to the weather report's advice! This was a couple of hours well-spent.

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