More Great Car Shots by littleMT on mu-43.com

 

GTO, by littleMT on mu-43.com

Image Source: http://www.mu-43.com/f42/my-2006-twin-turbo-gto-shot-e-pl1-27130/

I've been on a little diversion with car photography lately. Poster littleMT on mu-43.com has been a great source for me. littleMT posted a few intriguing images of the 2006 GTO shown above.

(Click Here) to see the others on mu-43.com.

You saw a post a while back from the same source:

(Click Here) for littleMT's other work I posted here.

I'm heading out to a car show myself this afternoon (which will be some days old before you read this), after getting a little work done at the office. It is one I've been to before, so I'm struggling to think of ways to do something different with my photography there. The people are always fun. Here's one from 2009:
 
 

Car Show Attendee, by Reed A. George

Panasonic Lumix DMC-G1, Lumix 14-45mm Kit Lens

iso100, f8, 1/125 sec

Here's another, trying to do something a little different:

Jag on Glass, by Reed A. George

Leica M8, Leica 35mm f1.4 Summilux

iso640, f-stop not recorded, 1/250 sec

So, wish me luck. I'm hoping for some inspiration this afternoon. Will report back :).

DMC-365.blogspot.com

 

Japanese Photographer Follows Historic Scroll to Motivate Citizens to Care for Their Town

Image Source:

http://www.japantimes.co.jp/text/fa20120510t1.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+japantimes+%28The+Japan+Times%3A+All+Stories%29

 
 
Japanese photographer Sasaoka Keiko has produced a photographic project with the purpose of re-engaging a declining and aging population in a rural town in Southern Japan in caring for their environment and living conditions.
 
Apparently, she has used a 150 year old scroll painting as a guide to lead her to modern views of the classic Japanese countryside in the area.
 
(Click Here) to read a brief description of the project (in English) at the Japan Times website.
 
After a little digging, I found a few more of Sasaoka's images in this set.
 
(Click Here) to see more.
 
If you're interested in what the original scrolls look like, (Click Here) and go down to the bottom of the page (I was so tempted to say "scroll down").
 
I love these kinds of projects. I find it thought-provoking to compare modern versus historic photographs, or in this case modern photographs versus historical paintings.
 
You may remember my post along these lines, comparing 150 years of difference at the Stone Bridge at the Manassas National Battlefield.
 
(Click Here) to see the Stone Bridge post here on DMC-365.
 
This is an example of where the time has done the scene some good. It would be hard to attain a condition worse than the American Civil War inflicted on the Southern landscape. In Sasaoka's case, I'm afraid it's the opposite. The graceful landscapes are now reduced to littered modern roadways. Hopefully, Sasaoka's work will help to re-ignite a passion for the beauty of the place.
 
DMC-365.blogspot.com
 
 
 

One of My Favorite Local Bands - Jake and the Burtones

 

Jake and the Burtones, by Reed A. George

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

iso 800, f2.8, 1/60 sec, Nissin Di466 flash (bounced)

Jake and the Burtones are a local band here in Northern Virginia. I saw them last Friday night in Purcellville, at Market Street Coffee. If you're in the area, this is a very casual, relaxed place to hang out, and especially rewarding when these guys are playing. They call it "Loudoun's Living Room," which I think is appropriate.

(Click Here) to go to Market Street's homepage for directions and information.

Jake and the Burtones is made up of (left to right) Josh Cava, Jack Pugh, and Tmony Griffin (no Jake among them). They have gained some familiarity with me now, getting used to the old guy with the cameras that always smiles when they indulge him with a set of Grateful Dead cover tunes. I'm still hoping for that "Brokedown Palace" someday...

(Click Here) to see Jake and the Burtones' facebook page.

On this occasion, I took the opportunity to ask them for one posed shot during their break, photographing them from the inside of the door, which included a flyer for their show:

 

Jake and the Burtones, by Reed A. George

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

iso 1600, f2, 1/100 sec

 
This is a hard-working band. Be sure and tip them on your way out!

Jake and the Burtones, by Reed A. George

Panasonic Lumix DMC-G3, Leica Summarit 5cm f1.5 LTM (1953)

iso 1600, f-stop not recorded, 1/125 sec

The shot above was made with the first Leica lens I ever owned. The Summarit 5cm is a Sonnar design, from what I understand. It's not the sharpest tool in the shed, but it sure has character. I love the out of focus highlights.

Thanks for another fun night in the neighborhood, boys. See you next time.

DMC-365.blogspot.com

 

Photoville, New York - I Want To Go!

Image Source: http://lens.blogs.nytimes.com/2012/05/15/theres-a-new-town-in-town/#/2/

Starting June 22, United Photo Industries (UPI) will host Photoville - a pop-up town exhibiting photography in exciting new ways. Photoville will be resident in Brooklyn Bridge Park in New York for two long weekends.

(Click Here) to read all about the event. There's even a kickstarter campaign to help fund the event.

This event is designed to engage everyone from talented amateur to seasoned professional photographers. I am sure there will be something for every photographer to learn by seeing the work of a wide range of others.

I guess it's remotely possible that I could go up since we have nice bus service from Virginia to NYC. Hmm... I need to think about that.

DMC-365.blogspot.com

 

Been Around the Block - Car Photography Is Fun

 

Image Source: http://www.mu-43.com/f88/been-around-block-few-times-27007/

Member littleMT on mu-43.com posted a few pictures of this old beast, taken with an Olympus E-PL1 and Lumix 14mm f2.5 lens.

(Click Here) to see the post.

I am going to a car show this weekend with my friend James McKearney. It's sort of an annual ritual for us, and until two years ago included Dennis Gallus, who has since moved off to Arizona. The old cars don't look like the one above, in general; they're all fixed up and nicer than they were on the showroom in many cases. Again, this is an opportunity for me to combine two interests - cars and photography, with the enjoyment of seeing a friend and fellow photographer.

Dennis - What A Smile, by Reed A. George

Leica M8, Leica 35mm Summilux f1.4, iso 320, 1/60sec (f-stop not recorded)

Last year, I shot exclusively with my Nikomat, given to me by the aforementioned Dennis. I was quite pleased with the results. Here's an example:

Farm Use, by Reed A. George

Nikomat, sepia and additional grain a la Lightroom

I think I'll use something from my camera collection that hasn't been out for a while again this year. I'll have to think about what. I do have a new stock of 120 film that hasn't been touched yet. Maybe the Bronica...

Regardless, I'm looking forward to it.

DMC-365.blogspot.com

 
DMC-365.blogspot.com
 

Kirk Tuck (of Visual Science Lab) Talks Up The Electronic Viewfinder (EVF)

Image Source:

http://theonlinephotographer.typepad.com/the_online_photographer/2012/05/kirks-take-electronic-viewfinders.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29

Kirk Tuck has written a piece on The Online Photographer, with some witty-but-practical thoughts about how electronic viewfinders (EVFs) compare and contrast to optical viewfinders (OVFs).

(Click Here) to read Kirk's post on The Online Photographer.

Kirk talks up the following features of EVFs:

1. "Pre-chimping" (this term belongs to Kirk :) ). This means being able to see how the camera's settings and electronics will treat an image BEFORE you shoot it. Not possible with an OVF, it can be achieved with live view on an SLR, but not with the camera to your eye.
2. Focus Peaking - I am not familiar with what Kirk describes, about the camera highlighting items that are in focus in your image. I'm thinking Lumix cameras don't do this? Please comment if you can shed any light on this subject.
3. The ability to quickly check an exposure in the EVF after it's taken, without having to take the camera away from your eye.

I certainly appreciate number 3, even though it makes people think I'm crazy when I've got the camera to my eye reviewing an image, not necessarily pointing it at my subject any more. My wife has said - "Why are you taking pictures of the sidewalk?"

On the downside, Kirk talks about the delay of the EVF making it more difficult to "lead" a moving subject (or at least different from the OVF), having to turn "Gain Up" (something I think is the default setting in Panasonic cameras) to see your subject in a dark setting, such as when you're planning to use studio flash, and the fact that EVFs typically represent an image in higher contrast than the true image, making the quick-check less effective.

On that final point, Kirk suggests that raw shooters can set their jpeg settings to low contrast, so that the image in the EVF more closely approximates what will be in the raw file. Nice tip.

I agree with Kirk on many points here. I love the "gain up" behavior of the Lumix EVF, which allows me to see what's going on in a dark scene by increasing the gain in the EVF (bringing up the light levels). I would add that this also allows visualization of the depth of field, if you're using a lens that closes the aperture down before the shutter is released. This is the case with legacy lenses on adapters. This is a feature that makes EVFs a major advantage. Basically, even though the aperture is closed way down (reducing the light getting to the sensor), the EVF adjusts the gain to brighten the image going to your eye. So, you get enough light to see what's going on, and the lens is closed down, so you can see the true depth of field.

Contrast this to the old depth of field preview in an SLR (which makes the image in the OVF so dark you can't see anything), or the conventional rangefinder camera (which has no provision for depth of field preview).

That said, I still really love to look through an OVF. It just looks more "real." It makes me feel like I'm still there, present in the scene. The EVF doesn't do that.

I know that even though this is a Lumix blog, I've been referring to Fujifilm quite a lot. I bring it up here because I wonder just how well their hybrid viewfinder (which allows you to switch between EVF and OVF) gives the benefits and minimizes the disadvantages of both finders. I imagine the hybrid design is pretty well-covered by Fujifuilm with patent protection, but I'd sure like to see it appear on other cameras (especially Panasonic).

Thanks again, Kirk, for a thought-provoking piece!

DMC-365.blogspot.com

 
DMC-365.blogspot.com
 

Memorial Day Tribute - Manassas National Battlefield

On Monday, May 28, 2012, I attended a Memorial Day tribute at the Manassas National Battlefield. The event began at the Groveton Cemetery, established in 1866 to permanently contain the remains of numerous soldiers killed in both battles at Manassas, and buried in shallow graves on the battlefield in the haste of war.
 

Groveton Cemetery, Manassas, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 95mm

iso 160, f5.8, 1/640 sec

 
Of the 266 confederate soldiers buried at Groveton, only two are identified.
 

Groveton Cemetery, Manassas, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 41mm

iso 160, f5.3, 1/600 sec

 
 

James Jerman Palmer, South Carolina

Groveton Cemetery, Manassas, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 54mm

iso 160, f5.3, 1/1250 sec

 
The 42nd Virginia reenactors were present to fire salute to their confederate comrades, and a wreath was presented at the memorial.
 

42nd Virginia, by Reed A. George

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

iso 160, f5.8, 1/320 sec

42nd Virginia, by Reed A. George

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

iso 160, f8, 1/250 sec
 

Wreath Laying, by Reed A George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 75mm

iso 400, f5.8, 1/1600 sec

Wreath at Groveton, by Reed A George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 32mm

iso 400, f5.6, 1/2000 sec

42nd Virginia, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 70mm

iso 400, f8, 1/800 sec
 

After the ceremony at the cemetery, Manassas' own resident reenactor group performed a cannon demonstration:

 

Cannon Fire, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 32mm

iso 400, f6.3, 1/500 sec

I love the way the camera captured the fuse line still hanging mid-air, and the cannon fire at full extension from the barrel. Lucky shot.


The rest of the event commemorated Union soldiers, who were represented by the reenactors of the 14th Brooklyn, the only outfit named after a city, rather than a state. They were also referred to as those "red-legged devils" by Stonewall Jackson and his troops.

14th Brooklyn (Composite of Two Images), by Reed A. George

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

iso 160, f4.5, 1/160 sec

 
At this point, the activities moved across the road to the 14th's monument on the battlefield.
 

14th Monument, by Reed A. George

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

iso 200, f6.3, 1/1000 sec

14th Brooklyn Soldier, by Reed A. George

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

iso 160, f5.6, 1/160 sec

 
 

14th Brooklyn Soldier, by Reed A. George

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

iso 160, f5.6, 1/160 sec

14th Brooklyn Soldier, by Reed A. George

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

iso 200, f6.3, 1/200 sec

A final volley was fired by the 14th to commemorate all of the fallen veterans.

14th Brooklyn Salute, by Reed A. George

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

iso 200, f6.3, 1/200 sec

Marching to Destiny, the 14th Brooklyn, by Reed A. George

Panasonic Lumix DMC-G3, Lumix 14-140mm f4-5.8 at 78mm

iso 200, f6.3, 1/800 sec

 

As this event was held in 90 degree weather at noon, it is hard to imagine worse lighting conditions. Okay, I can imagine worse, but the contrast was pretty high, and the shadows were not very complementary to my subjects.

 
You will see that I attempted to use fill flash on the shots taken with the Summilux 25mm f1.4. I did this with my Nissin Di466 flash set on manual, which allowed me to control the flash level better than TTL would have. I have found that even at minimum power, the Di466 can overpower the ambient light. In order to help out in this situation, I used a 3-stop Lumix neutral density filter on the Summilux. This allowed me to find an f-stop where the flash at minimum power was not overpowering, then select a shutter speed to balance the ambient light as well as possible. These are all manual settings, and since the flash power varies as a square to the distance from the subject, it is very hard to find one setting that works for multiple shots. In both of the Summilux portraits shown here, I think I underexposed the ambient, and allowed too much flash power to come through. This is a learning process for me, but at least I'm making some progress.
 
DMC-365.blogspot.com