Those days when you think of selling a couple thousand pounds of cameras, lights and stuff, buying an old M4 and a 50mm Summicron and walking away from the routine. Where did I put that brick of Kodachrome?

I thought you might like to see what a video frame from a GH5S, shooting in L. Monochrome with an Olympus 12-100mm f4.0 Pro, looks like when we pull a still frame.

A frame from a 4K video clip shot at Esther's Follies on a Panasonic GH5S.

The cast is doing a script rehearsal. Fascinating to me. 

(Below: my edited version. The target I'll aim for in the promotional video)

(Maybe with a bit less added noise the next time around.....). 

I've read over the last few years that we will soon be able to pull still frames from our videos. I decided this afternoon to see what a 4K still frame, taken directly from a handheld video clip shot at 30 fps (1/60th of a second shutter) with the lens set at f4.0.

Well, this is what mine looks like. I would guess that by using a tripod I could have made the frame even sharper. I would also add a bit more midrange contrast to the image but wanted to present the file the way it was shot for video.

It's interesting to me to see just how nice the frame looks prior to grading or post processing.

My GH5S gets more interesting every day that I shoot with it.

As I think about the new Nikon mirrorless cameras I find myself looking back at work done on a wide range of Nikon cameras. From the D100 through the D850, and lots of stops in between.

from a rehearsal of "The Rocky Horror Picture Show" circa 2006.

If you want to figure out what kind of camera (and what brand of camera) you really like to shoot with it may be instructional for you to go back and look at which cameras (and brands) have cycled through your hands with the greatest frequency. What did you like about them and what led you to change into other systems. 

One of the system I seem to gravitate toward most often is Nikon. Specifically, traditional Nikon DSLR cameras. I can generally pick up any of the cameras they've made in the past two decades and figure them out in minutes. They feel good. And, with hindsight being better than presbyopia, I can see that even the older models were, in fact, good performers. By that I mean the images you could create with them were excellent. Some I would rate as excellent in their time but some were just flat out excellent, even when compared to today's cameras. 

I looking through the files I came across a set of images that I shot for the theater production of "The Rocky Horror Picture Show." Some were done with with one of my least favorite cameras, the D200 and some were taken with one of my favorite Nikon cameras, the D2X (see image at the top of the article). 

There is an undercurrent of thought, becoming more prevalent among photographers, which posits that the camera industries much touted advancements in the last ten years have been less spectacular than marketing and industry reporting would have us believe. As I look through various files I've come across material we shot with a 2002 Kodak DCS 760 which our clients used as 4x6 foot point of purchase displays; and marveled at how good it looks. Ditto for the much underrated (image quality wise) Kodak DCS SLR/n. We shot a series of images that became large wall graphics using the low ISO settings on that camera and the files seemed better than some of the images I've pulled off much more recent and higher res cameras. (The SLR/n had an ISO 25 setting that worked by making multiple exposures into one file while reducing noise via anomaly cancellation processing. The end result was files of incredible detail and sharpness with no discernible noise. The trade off was the need to shoot with continuous light and the long shooting a processing times...). 

Even the files from the early D100 were good. The sensor in that camera was a 6 megapixel one in an APS-C size. That camera's biggest fault was a tiny raw buffer. You got four shots and then the camera went dormant for while in order to process them....

I have several favorites from the middle years of Nikon digital cameras, including: The D2XS. It was prone to noise at any ISO setting above 640 but the files in the sweet range (200-400) were/are competitive with anything on the market today, when comparing like sizes. It was a rock solid camera that nailed focus without much fuss and yielded great color without much sweat in post. 

The D700 deserves to be considered as one of the legendary cameras of the digital age. And the next big step up was the D800/D800e. It's six years on since the D800e and yet, when I compare files with a D810 at ISO 100 I'm sure not seeing six years of quality increase or magic. A bit more dynamic range for people destined to shoot outside in the sun but for most people either camera is so capable of delivering amazing files that the recurrent limitation will be that of most people's technical skills or the quality of their lens collection.

I sold my mid-term Nikons and jumped to Canon at a time when Nikon didn't have any full frame cameras with a resolution over 12 megapixels. Canon had come out with the 5D2 and it was a pretty amazing camera in it's time. I was personally happy with the D700 but I had a few clients who were clearly mesmerized by the marketing hype of high resolution and I felt like I needed to keep up with the Joneses. We weren't nearly as smart back then. I bought the technical enticements hook, line and sinker.

When Nikon launched the D3X and I looked at the price tag I felt entirely vindicated for choosing the Canon and it took a while for Nikon to step up and match. The Canons were great cameras but after Nikon got up to speed with the D750 I switched back again (and there were "sub-systems" in between). 

Now I am actually waiting with a bit of excitement to see what Nikon presents us at tomorrow's launch. I can get all lofty and say that I don't need anything beyond what I have today but I'll just repeat a quote from the character of Mr. Burns on "The Simpsons" when Lisa Simpson asks him (paraphrasing here): 'You are one of the richest men in the world why keep chasing stuff?' and he responds that while he is quite rich  ----- "I would gladly trade it all for just a little more!"

I'm by no means rich but, where cameras are concerned I often have the feeling that I too would, "Gladly trade them all for some just a little newer..."

Currently working through the obvious logic dysfunction I've describe here....

Looking back I am amazed at how much I disliked the D200 and how much I enjoyed making photographs with the D2xs. Perhaps one of the new mirrorless models will raise the bar in some noticeable way which will make it easier for me to rationalize yet another unnecessary expense. 

When a camera has certain performance parameters that exceed your expectations. By a lot. Today it was the GH5S shooting black and white video.

I recently acquired a Panasonic GH5S and I hadn't had the opportunity to give it a thorough test until this week. While I've shot some RAW stills with the camera one doesn't really buy a $2500, 10 megapixel hybrid camera unless one is looking for some specialized performance, and, in this case that performance is all about the video. I have an original GH5 but when the S version came out I read up and realized that the dual ISO feature and the improvements (though subtle) in video image quality and overall color science would be a plus for any projects I might consider.

When the opportunity came along to trade one of the two GH5 originals for an almost new GH5S I came up with a check for the difference (fair is fair) and didn't hesitate.

I spent part of last week and any spare moment during last weekend familiarizing myself with the video menus and the handling feel of the camera when used as a video camera (as opposed to how one handles the camera when shooting stills...). I also tested the codecs to find the right balance between creating files that would work in our typical end media and not getting lost in

Robin Wong discovers that older cameras can be very good photography making machines.

https://blog.mingthein.com/2018/08/20/digital-classic-robin-reviews-the-original-canon-5d/#more-17429

I guess a lot of us are wrapped up in a mid-first-decade of the new century reappraisal/re-appreciation of just how good the camera tech was for the third generation of full frame gear.

Would be interested to hear back from the newest D700 users to see what they think. Chime in!

I spent $17 on a total "piece of crap" lens and I had a fun time shooting with it yesterday. Hello "Holga for Nikon." Can't wait to use this "glass" on a new Nikon Z with an adapter......hmmm.

I had a serious purpose for being nose deep in Amazon.com on Thursday. We'd just gotten the "thumbs up" on fun video projects from three different clients and I wanted to buy a Thunderbolt SSD drive to put all my footage on for faster editing. I found what I hope will be a good drive but when I was on the site I made the mistake of looking around at the Nikon lenses to see if there was any particular focal length I had missed and needed more than oxygen....

Nothing from Nikon bubbled up but when I started looking at third party lenses I came across the most counter-intuitive lens I could possible imagine. The Holga people have begun packaging the famous(?) Holga 60mm f8.0 lens that has been "featured" on their cameras for decades for various other brands of camera. You can now buy a 60mm Holga f8.0 for your Nikon, Canon and micro four thirds cameras. The lenses come with the appropriate mount for each brand. The build quality is utter crap and focusing is strictly by zone. There is no way to change apertures and even the smartest cameras with the best Auto-ISO will be mystified by exposure with this "gem." 

I should mention that there is one decent feature set: The Holga lens comes complete with front and rear caps.

The vignetting is so strong that the lens acts like a t16 instead of an f8.0. The edges are monstrously dark and I found that the highest precision approach to both focus and exposure was ---- trial and error. Much error, even more trial. 

I should mention that the lens (which I assume is a one element lens design) is not sharp anywhere in the frame. The one benefit for all you people obsessed with camera weight and size is that the all-plastic lens body construction probably weighs in at about 2 ounces and it will fit in the front pocket of your most hipster trousers.

Here (above and below) is my gallery from Saturday's Holga Photo Safari in downtown Austin. See the attack of the electric scooters!!!! See the dark edges!!! No Instagram filters were used in the degradation of these images!!! See flare an anamorphic lens lover could be proud of!!!!

Why did I buy it? Why do I do anything? Lack of impulse control and a credit card balance that the issuing bank seems to be ignoring.... Will I keep it? Well, of course. How else will I be able to invent a whole new style for myself for the future?

Can't wait slap an adapter on the lens and mount it on the GH5S. With the vignetting and distortion of the lens coupled with some V-Log and beginner color grading I think I'll have the kind of winning new "authentic" vibe I need to reach a whole new generation of photo buyers. Cheers!

We're heading into the busy Fall season.

Selena R. at Willie Nelson's Ranch.

It seems to always start out slow in August. After the first week or two with little, or no, business I begin to panic; certain that no e-mail and no texts means I'll probably never work again. The phone doesn't count as clients forgot about calling when they learned I'd respond to texts. I start planning to pull money out of my savings account or to sell plasma, or both. I tell Belinda we can no longer afford anything other than beans and rice. We turn the thermostat up a little bit more, even though we're mired in the hottest month of the year. 

Then the dam breaks and work starts to flow in. Next week is spoken for. A solid week that weaves stills, video, stills and then more video. The first few days of the following week are set aside for editing, and after that we start on a big project that will have me and my videographer in San Antonio for a couple days a week for most of September. And there's stuff starting to fill in around the edges. 

We've re-introduced fresh vegetables into our diets and the thermostat has crawled back down. Belinda reminds me that this happens every year. We call it "The Sigh Before School Starts." Parents scramble to get their kids ready and then the race to get half a year's worth of projects done between now and the 15th of December starts in earnest. 

We'll have the same sinking feeling from Dec. 15th until January 15th. Would someone please remind me in January that things cycle up as the holidays recede into the past?

(remember that short period when I bought a Canon 1D mk3 and some Zeiss lenses and played around with that camera for a while? It was actually pretty good).

Photography as ever changing content in today's advertising paradigm.

Selena. Singer with "Rosie and the Ramblers."

 It's interesting and bit depressing to understand how the role of photography has changed in the realm of advertising. I know many of my readers are hobbyists and don't really care how some art director in San Diego or Miami intends to use images in the course of her work but there is a shift in the basic understanding of how photography works in advertising that affects its role and value to each of us across our cultural map. 

In the days of limited and expensive distribution which defined print advertising it was impossible to cost effectively provide consumers (and specific target audiences) with new visual content that changed daily. The mandate then was to create advertising that had a temporal stickiness to it so that the visual impression an ad created would have enough impact to provide results over the span of weeks or months. The strength of an ad's impression was also a determined by how many times people passed along a magazine, newspaper, brochure or direct mail piece to another audience member. 

Since advertising agencies and their clients had limited and expensive vehicles for their advertising it was important to the process to develop a truly creative message for delivery. This meant that quality time was spent conceiving and testing their "one way" communication with a target market. Since photography and illustration were the primary sources of stickiness a lot of time (and money) were invested in getting just the right image to carry the message and branding for the client. 

In a time when national advertising placement in magazines could cost as much as $100,000 per insertion, per magazine; and when multiple magazines and newspapers needed to be used to effectively hit a complete target market, the costs of media always exceeded, by an enormous multiple, the cost of image production. But because each volley of ads was (relatively) so expensive and needed to have a long shelf life no expenses were spared in really fine-tuning the photography or illustrations used to market client's goods and services. Even for a simple, industrial shot in the studio we might have a day of pre-production meetings, several days to acquire or build props, followed by a full day of photographing in order to squeeze out the absolute best image possible. The image was the lever that made the expense of advertising work.

After our jobs as photographers were done the final images were sent out by the advertising agency for color separations which were then delivered to the magazine or printer. Good color separations were always a blend of art and science and, with retouching, could cost thousands of dollars. The negatives sent to each individual magazine could cost hundreds of dollars per set. No wonder art directors paid so much attention to detail and to a workflow that gave ample time for fine-tuning and quality control at every step. 

And, I am sure that a digital variation of this exists at the high end of national advertising even today. But I'm equally sure that the dollars spent on traditional placed media are a tiny fraction of the share they used to command in the overall pie of advertising expenditures. Access to the web changed everything. Advertisers have trained consumers to expect daily (and sometimes hourly) engagement; complete with spontaneous feedback loops. Now that "placement" on the web is just about free there is far less concern with getting individual messaging absolutely correct and able to withstand a long run cycle. It's been replaced with the need for constant content constantly supplied to an ever hungry audience. Trading a quantity experience for a quality art product.

If advertisers needed to make each image as creative and well produced as they did back in the time when print was dominant the cost of production, because of the demand for quantity and diversity of images, would be insurmountable and not sustainable. Now the image is secondary to just "having the door open" and rotating new visual inventory to the daily audiences on the web. The need for quantity is also driven by the granualization of the overall media landscape; even on the web.

We are rarely called upon now to make one glorious and remarkable image for clients these days. Instead, we are called upon to work quickly, with minimal pre-production, and to make a wide range of images (an image library) over the course of one engagement such that we can provide an inventory of diverse images which can be pushed into the ever hungry delivery channels as quickly as "content providers" can package an image with a terse little marketing story, whipped out at speed by an "associate" copy writer or a copy-writing app. 

Often, when I show current work to old school photographers they (rightfully?) grouse about little details that would not have passed through the previous workflow process without correction or retouching. A wisp of hair out of place, a wrinkle in a shirt, a hanging thread at a seam, a less than perfect composite, a slight color shift, all things which would be critically deficient for an image destined to lead a month long or quarter long campaign, lingering like fine perfume on the market. But none of those things are now deal breakers (or even speed bumps) in the current hourly manufacture and upload of content for the web. 

We now have clients who bring iPhones to the shoots with the stated intention of shooting everything we do during a shoot and sending the BHS images off to a remote designer who packages them and inserts them at Medium.com, Instagram, LinkedIn, Twitter and Facebook, often creating a buzz campaign before we've even taken a break for lunch. This is not surreptitious behind-the-scenes behavior; it is mapped out as part of the shoot experience at the stage of preliminary negotiations. 

A recent shoot for a theater featured me shooting marketing stills, a video production company shooting a BHS video for immediate upload, and a photographer from the daily newspaper shooting the same BHS images and uploading them in bursts to his editor. The press photographer's images didn't hit print, they were delivered directly to the daily news feed on the newspapers website. And, of course, as soon as I got back to the office and started post production on the primary marketing images I was busy selecting my favorites and uploading them to this blog and to Instagram, Twitter and LinkedIn so I could  grab a tiny bit of attention while the stuff was still fresh......

When each image has a lighter load to carry, and each image is desperately disposable, then each image is far less valuable. They become less like distinct art objects and more like the nightly local TV news. Bland stories, competently (barely) told, there to act that the mortar between bricks of advertising, and gone stale five minutes after the sign-off. Whether you admit it or not this downward appraisal of the value of individual images permeates through the collective psyche of our social structuring/ our culture. The endless flow diminishes the value and the attention paid to each individual pin prick of photographic presentation. 

The most interesting aspect for some of us is the way a diminished level of production value is rationalized; the way the shortcoming are re-packaged to become features. Any flaws (either in conception or image making ) are supposed to have been done intentionally in the pursuit of "authenticity." The idea being that flawed or poorly constructed images or messages will be more positively received by their intended audiences precisely because they "appear" to be a more honest message capsule. Less a corporate message and more just a slice of life. 

Am I depressed or "bitter" about all this? Not really. I presume that the overall market will rush to the bottom and soon nearly all web-ad images will be made quickly, mostly on the way to lunch (which will be recorded), by whatever phone is handy, and will become so bland and undifferentiated that data analysis will come to determine that all the energy wasted in loading up the web is ultimately inconsequential to sales which will bring a new generation of ad pros around 180 degrees, hellbent on creating a brilliant, standalone message that will be printed beautifully on thick and expensive card stock and then hand delivered to intended recipients, with a flourish. All of a sudden the mantra will be: They were so innovative. They were the first agency to reject the homogeneity of the web and embrace a whole new category: We're calling it "High Touch" marketing. Carefully crafted messages, exactly delivered. 

The new marketing will be touted as a break through, hybrid approach that combines state-of-the-art data-mining of demographics and combines it with quality messaging that is unique in both creative power and delivery. 

This may be critical marketing theory once we come to grips with the fact that the demographic over 50 years old controls over 75% of all wealth in the USA. And they may remember a time when advertising was delivered to them instead of just pushed off onto a screen. And they will probably remember that they liked feeling as though they were getting quality message, aimed directly at them, in a medium they enjoyed engaging with. Not all products and services will be able to slice down into the most cost effective slivers of the markets so there will always be mass market advertising that depends on the cheapness of the web. 

It will all be moot when video routs the final still imaging holdouts. The only thing that was holding video back was bandwidth and most of the fertile consumer markets have long since jumped that hurdle. Are we "looking forward" to a time when advertising just stream content 24/7? I'm not so sure but I may be outside that demo as well....

What does all this have to do with the image at the top of the article? Not much, except that I still like to see beautiful images that stand on their own. We may be the last few generations of people who share that regard. It makes me sad when photo reviewers like Thom Hogan write that the biggest impediment to success for companies like Nikon is not having software on the cameras that will easily and automatically send images immediately to the web. Why? So those images can join the millions of others queued up in the firehose? Seems like two concepts battling each other; the idea of a necessary and immediate flow of poorly considered images, flooding to the internet, versus brilliant concepts, careful planning and a process that would result on in glorious and stunning images that stand the test of time. 

Sad, if you believe that we can't have both. We can. Just not in the same wrappers.... 

Just stuck my camera out the window and blazed away today. Someone else was driving the car up the "Devil's Backbone."

The landscape looks more exciting when it blazes by at 85 mph. Wear your glasses in case the June bugs come a splattering.

Panasonic V-Log. A quick and simple test.

This is the video in its V-Log form, unedited by human hands.

    

This is the video after I've applied the Panasonic V-Log to Rec 709 LUT and tweaked a few settings.

It's a quick and easy test to make sure that the GH5S, Final Cut Pro 10X, and the LUT all play nicely together. Ostensibly, you can get more dynamic range with a Log file but you have to shoot a file that looks very flat in your monitor. The GH5S has an in-camera LUT (look up table) that changes the way the file looks on your monitor, as you shoot, to get you, visually, into the ballpark.

You bring the super flat file into your editing program and overlay a LUT that maps the file into a REC 709 space so it looks normal. I find I like a bit more richness/darkness in the shadows so I also hit the curves controls.

The GH5S nicely passes my test for a good 1080p shooting machine.

shot in V-Log. ISO 320. 60 fps. 10 bit 4:2:2. All-I. All done.

Random Thoughts on a Random Thursday. Collaged Thoughts.

I have no idea with this product does but I know it was fun to 

photograph it with a wide enough lens so I also saw this guy's feet...

Yes, that would have been done for a 2018 commercial client 

with the Nikon D700. And, yes, we did get paid to show up

with that ancient equipment....

Most important news first. I had a really great swim practice this morning. I did some research on the web because what I'd really love, going forward, is for some major corporation to pay me just to swim every day. If I had to do less "real" work I could get back to two workouts a day and I'd be in really great shape. I just can't figure out how to spin the advantages of me swimming for clients so they'll want to toss me ten or fifteen thousand dollars per month. I do take a baby aspirin every day...I wonder if Bayer would play ball? Anyway, I think it would be really cool to maintain my lifestyle by swimming for a couple hours a day and maybe starting a blog about that. "Swimming my way to retirement"? 

What makes for a great swim practice? Hot weather combined with chilled water. It was right at 79 degrees today; cold enough to really feel your hands getting resistance in the water but not so cold as to make short rest intervals uncomfortable. Nice lane mates. It's great if you swim with two or three other people in your lane who are just a couple seconds faster per hundred than you are. Then you really have to work at keeping up and making the intervals. Clean water. The clearer the better. A great coach on deck; someone who will leave you alone when you are "in the zone" but who will step in to give you encouragement if something is a bit off. Finally, those wonderful days when someone thinks ahead and brings coffee and fresh fruit for a poolside, after-swim snack. Greet the sun. Feel the water. Raise your heart rate. Feel alive. 

This was my favorite video camera to date. It may drop down a notch 

when I've got the GH5S thoroughly figured out.

I'm heading out to practice handholding the new GH5S in conjunction with a variable neutral density filter and the Olympus 12-100mm f4.0 Pro lens. I've already tested one important parameter: the lens does provide image stabilization while shooting video, and it's very good and very steady. The weak link right now is just my lack of daily experience handholding this particular rig in video mode. It's something you get if you do it all the time. You get comfortable with the best way to hold and move with the camera. I want to get my hand and body skills nailed down first and then I may look at handheld gimbals. They seem so alluring and yet the gimbal can impart its own style if you just go with the flow. I want to know the old school way to handle the camera before I get a new crutch. And, yes, the audio from the GH5S and audio interface is perfect enough for me. I'm heading out to do snippets in downtown and I'll be experimenting with V-Log and HLG. Now I just need to scare up the right LUT for the GH5S in V-Log + Final Cut ProX. 

Monday afternoon is coming quick and I'd like to get about 8 hours of hands on practice in before I start shooting with the new camera for client. So far I haven't run into any monster glitches; not even a small gremlin or two. 

Look!!! Nikon has gone mirrorless!!!

Where are we with all the Nikon mirrorless announcement stuff? Michael Johnston (the Online Photographer) questioned whether Nikon "deserves" to be successful in the space. I thought that was a bit odd but it seems as though that kind of moralizing futurism is a great way to garner comments on a blog. He's gotten about 103 comments, and counting, since yesterday. I would say that most companies who haven't committed crimes, cheated their customers, or knowingly launched defective products deserve every chance the free market will give them. Nikon is not some company that spews out the dregs of the industry and begs for your money; they have a one hundred year history of providing great photographic products and, for the most part, standing behind what they sell. I've heard the same reactions directed at Sony. I think we need to get serious. It's not like these companies are Monsanto or ADM. They aren't poisoning the lakes and rivers or making genetically engineered seeds and then patenting all seeds. They are just trying to make some really nice and precise consumer products for grownups to play with. And enjoy. And make art with. 

We should wish all the camera makers good luck because we'll sure enough be moaning and groaning if they start to exit the market en masse and we wind up with one Microsoft Giant Type, monopoly camera company that controls an enormous swath of the market and doesn't feel the need to innovate or even fix their self-inflicted stumbles. I'm happy when all of the camera companies are humming along and making stuff we love. You should be too. 

Just wanted to put that out here. Now, on to Nikon. Seems like we're getting more and more believable stuff from the rumor sites. Today's conjecture is that we'll have two bodies coming soon; one that's tweaked for high speed (sports, et al) that will have a 24 megapixel sensor, and a second body that's optimized for ultimate resolution and image quality that will have 45 megapixels and the ability to stun people senseless with its image quality. The 24 megapixel version sounds yummy to me. I'll be buying one of those used in a few years. I can hardly wait. 

The other news is about lenses, and two in particular seem to be making peoples' antennae twitch. One is a 58mm f.095 and the other is a 36mm f1.2. Both will be native Z mounts and they'll be joined with the usual suspects; 24-70mm lenses in both fast and vanilla, and a few other lenses in which I had no immediate interest. I have my fingers crossed that they lens mount adapter is not the one accessory that launches on permanent back-order but then again... it's still impossible today, a year after launch, to get one's hands on a new D850 in north America.... All will be revealed in a week. 

How do I know a play at Zach Theatre is very, very popular? I start getting request from friends and family for comp tickets. I'm pretty good at snagging comps for myself but the inventory of ready tickets for "The Beauty and The Beast" is very, very thin and as long as the theater can get hard currency for seats it's tough to convince them to give them away. I've seen the play three times; they deserve your cash...

Here is my very first exterior shot with the GH5S (above). I was on my way downtown and passed by the theater around noon. I shot it close up with the Panasonic/Leica 8-18mm lens. I like leaning buildings but I'm not going to win new architect friends with that backward leaning image. It's a tough building to photograph because the only option other than a super wide is to shoot across four lanes of one of the busiest streets in Austin. Like this......(below).

In other notes, we're heading toward September, most public (and private) schools start up again in Austin next Tuesday, and downtown was bustling yesterday. There were lines of thirty to forty people at the popular food trucks, lots of people waiting for tables at nearly every downtown restaurant, and all the burger joints were packed. This  means more people on the streets to photograph and more people coming back to town to share coffee. 

Austin continues to grow but I'm not quite sure of the sign I found below. It's on a fence next to a giant hole in the ground. I'm not sure a weathered and sloppy sign is quite the advertising message I'd want to convey for a new high rise office building. I guess we'll see if their dream comes true. 

Finally, Kirk does car repair. I don't own a lawn mower and I don't have many tools. I have some pliers, a hammer and a set of socket wrenches. Somewhere in the studio I have a saw for cutting nine foot rolls of seamless down to more manageable sizes. I've never changed my own car's oil. I didn't grow up fixing cars. But yesterday I finally did one heroic car repair.

It was a hot and muggy day. I'd just finished shopping for dinner (my turn) at the local Trader Joe's and I had a bag of perishable groceries in the back seat of my car. I turned the ignition key and the car hesitated a bit before starting. I should have driven straight to the Honda dealer and thrown myself at their mercy at that moment. Instead, since the car started, I made a mental note to get the battery checked in the near future and I drove off to a gas station to fill up my tank. Task completed I got back in the car and turned the key only to hear a wimpy and short grrrr. grrrr. from the starter followed by a painful silence and no joy from the engine. The car was in shade and the gas station had both "full service" available as well as mechanics. Good luck for me.

One of the mechanics came over and popped the hood. He put some sort of external jump starting battery on the terminals of my battery and I started the car. Then he used a different device to check the alternator. It was fine. "You've got yourself a dead battery." He said. I asked if they had a replacement in stock. "No. We'd have to order one and we probably couldn't get it till tomorrow afternoon. If it was me I'd just head over to Costco and buy one. You'll save a lot of money." I thanked him and headed home.

I turned off the car in the driveway and borrowed Belinda's car to head over to the local Costco. I took the battery inside and they looked at some hieroglyphics on the outside of the dead box and determined that it had not yet crested their 3 year battery warranty, so.....they traded it out at no cost for a brand new battery.

I Googled how to replace my battery. It was dark by the time I got started but that gave me an excuse to set up four battery powered LED lights, on light stands, around the engine compartment. Things were going well until a skunk showed up. It stood on a sidewalk about thirty feet away and just, more or less, watched me. I'd turn the wrench one rotation and then look back over at the skunk --- I didn't want to be taken by surprise --- and I have enough trouble keeping clients happy without showing up smelling of skunk! He finally relented and sauntered off into the darkness and I was able to devote my full attention to the task in front of me. I know I should have grabbed the GH5S and done a behind-the-scenes video of my heroic battery replacement so you guys could see how adroit I was with tools but there was dinner waiting.

Everything works now but I did have to reset the clock in the car. Tip of the hat to Costco for their generous return policy. A big "thank you" to the skunk for not wanting a more active role in this adventure. Batteries die quicker in hot weather. I think it's all the time we have mired in traffic on super hot days that kills 'em. But, as long as I have access to Google I think I can change another battery in the future. No skinned knuckles.

Not as much fun as not having to change batteries. Funny, when I pulled out the battery it looked a bit smaller than the battery in my last car. My first thought was, "Sony battery." Couldn't help it.