Portrait of Renae.

 This was originally shot on a medium format film camera. The original image was printed on a double weight photo paper which was then toned in selenium. The exif info for this file shows the originating camera as an Olympus digital but that was just the camera used to copy the print and translate it into a digital file. 

The image was lit with one large soft box using electronic flash. The edge print is not a digital construction but is the inner edge of the frame of the film holder which was filed down to allow a small margin of the film edge to show. 

Since I used a simple metal file and I'm not always precise the effect of the filing is that the holder has variations in dimensions and smoothness. The negative was also partially diffused for part of the print time under the enlarger which accounts for the soft edges and whatever ghosting you might see.  Each print made with my Pictrol(tm) diffuser is different; unique. The device was not mechanically attached to the enlarger but was hand held and moved during parts of the overall exposure. 

This is the style of portraiture that I have always liked best. 

Do you want a very well corrected, very fast, short telephoto lens for your medium format camera? Well then, don't get a TTArtisan 90mm f1.25. But......

I've been mucking around with full frame cameras for months now and, except for work, have been ignoring the GFX 50Sii that I bought mid-Summer. The camera is great. The sensor is great. The problem is with me. I just can't seem to pull the trigger and buy the lens I really should use with this system. That would be the 110mm f2.0. Rave reviews everywhere and at a full frame equivalent of 88mm it would seem to be the perfect choice for me. But for some unknown reason I'll continue to waste time and money looking for a "miraculous" low cost alternative while trying to convince myself that lens "X" or lens "Y" is just as good as the 110mm, if only I just put more elbow grease (and post processing) into the mix. 

The sad reality is that the Fuji GF 50mm lens and the 35-70mm kit lens are both really good performers; just not at the right focal lengths for me. So far I've mostly wasted money and time buying first the TTArtisan 90mm f1.25 lens and then the Mitakon 135mm f2.5. Both are available in both Hasselblad and Fuji medium format mounts. That would strongly imply that these lenses would be suitable for those camera systems. That they would cover the full frame of the MF sensor well. But....nope.

So, if perfect lens geometry is important be sure to pass on the 90mm. And, if zero vignetting is a must then consider both of these lenses as abject failures. Profound failures. I know this for sure now because I spent hours walking around yesterday photographing with the GFX 50Sii + 90mm, and another few hours staring at the resulting files in Lightroom and wondering just how much tolerance I really have for mostly crappy lenses versus just spending the money to buy the right stuff the first time. 

So, as pertains to the 90mm f1.25, what are my gripes? The universal black marks against this lens are threefold. First, it weighs a ton. Well, more like three pounds but that might as well be a ton if you are working a full day with this beast, handheld. Second, the vignetting is just awful. Amazingly bad. Stunningly bad. When I tried building a profile for this lens I found that +75 in the vignetting controls in Lightroom was just almost good enough. Really, +90 to +100 would be better. And here's the crappy deal with vignetting in a simply designed lens like this --- the amount of vignetting is variable and depends on the aperture setting and the distance setting. I guess that's true for a lot of lenses but this one goes from really dark but soft corners near wide open aperture settings to really dark but harder edged corner vignetting as you stop down. The final flaw is the easiest one to fix; mostly. It's the presence of a bunch of barrel distortion. You can correct most of it with a +7 or +8 increase in the distortion controls in post but you should also be aware that there are still mostly unfixable touches of "mustache" distortion that are not tamed by the magic of software corrections in most programs. 

One hopes that someone (Adobe or TTArtisan) will make a lens profile for this pudgy beast that actually fixes some of this stuff. But I think the market for the lens is so small that this will never happen. 

My next question, if I were a potential buyer, would be: "Are there any "pros" to this lens? Any conceivable reasons to buy and use one? 

Well, yes. 

Even wide open, at the center of the frame, the lens is very sharp. Stop it down to f5.6 and it's sharp everywhere. (But why would you carry around a three+ pound, ultra-fast lens if you need to shoot it at f5.6 to make it work? If you are shooting objects or scenes near infinity the lens works fine even at f2.0 and f2.8; except for the far corners. You'll still have to fix vignetting and distortion but in all fairness most lenses for current mirrorless cameras (Leica Q2 and Q3 included) lean heavily on in-camera software to make a lot of corrections to their lenses. A lot!!! The only difference, really, is that this particular 90mm is left to its own devices in use rather than being saved by intricate software fixes. If you had a "go-to" profile for this 90mm in your post processing program it might be a bit more popular. And perhaps more people would be walking around with bulging biceps from hand holding it all day long...

I keep the lens because I think it can be redeemed as a portrait lens. I've been using it to make controlled portraits with for a while and I actually have come to like it in these applications. I crop the images in camera to either the square or the 5:4 or 7:6 aspect ratios and the vignetting mostly goes away, along with a percentage of the frame. If you are a 3:2 fan you'll mostly remove the vignetted corners in that crop as well. The distortion correction of +7 works fine for all portrait work. A little, tiny bit of residual mustache distortion doesn't destroy portraits. 

It was a lovely afternoon here in Austin, Texas yesterday. Neither too warm nor too cool. Partially sunny but with fun clouds passing by. I took the lens out to see if I'd been blaming my own poor technique on the lens or if the lens was really as bad as I remembered. I shot a lot of frames. I walked a lot of steps. I took my time focusing and generally used the magnification feature to make sure things were really sharp. 

Here are some examples from the time spent with the lens. Please note that most of the frames have been mostly (but not completely) corrected for vignetting. The lens is fairly color neutral and I do like the center portion of most images shot with it. Just don't buy one for use as a precision architectural lens; especially if you intend to use it wide open. And copy work? Forget it. There are better options. Really. 

The one thing this lens is really good at is doing portraits with a wide open aperture and letting the background just vanish. That's its special feature. And that's probably why most people who buy one and keep one do so. It's a great look --- when it all works.

I'm in love with the Texas skies. When they behave as I'd like them to. 

I'm including this image because it's a great example of the center sharpness even when using the lens with the aperture at its maximum of f1.25. I focused on the center type and by the time I get to any corner it's just so out of focus. This was also shot at near the closest focusing distance. 

Fairly sharp at f4.0. Very usable.

this was shot long after the sun set and is a good example of a situation in which 

f1.25 can come in handy. The exposure was ISO 800, f1.25, SS= 1/13th. That's 

a pretty dark use case....

this was shot to show the bokeh of the lens at wide apertures. 

Notice the "cat's eye" bokeh in the corners. 

The sky changes so quickly just before the sun is gone over the horizon...

Holiday lighting at the Seaholm Power Plant. 

Same as every other year.

 

Elliott Erwitt, one of the last living legends of photography, passed away this week at 95 years of age. The end of an era.

 https://www.elliotterwitt.com/

https://www.magnumphotos.com/photographer/elliott-erwitt/

https://www.hrc.utexas.edu/press/releases/2016/elliott-erwitt-collection.html

(Will Van Overbeek and I spent a day with Elliott Erwitt in Austin, Texas while he was here to negotiate the donation of his archives to the HRC*. We were the local facilitators for his visit. We picked him up from the airport, delivered him to his hotel, took him to the HRC for meetings, took him to El Azteca Restaurant for lunch, Progress Coffee for an afternoon coffee, over to the LBJ Museum to look around, and finally delivered him to the Blanton Museum where he did an evening slide presentation for a packed house. 

He carried his rangefinder camera (with 50mm lens) everywhere. 

He was quiet but possessed of a very dry and very wonderful sense of humor. Will and I had a great time hosting him).

What an amazing career! May he rest in peace. 

*The Humanities Research Center at UT.  Aka: The Harry Ransom Center

A portrait of two sisters. In the old studio just east of downtown.

Sisters.

At one point in a previous career I was a creative director at an advertising agency here in Austin. Mousumi (on the left) was my print representative at a local printing company. She was the person who bid on our print projects and also shepherded them through the print process. I think she secretly delighted in arranging for our press checks to happen late in the evenings to punish us for, well, being advertising people (I kid). When our four color projects were on the press B. and I would get a call from the printer and we'd hustle over to the plant to do a "press check." To make sure all the color films were lined up in sync. To make sure the color matched our pantone selections and the color proofs. A complex press check could take hours and hours. 

After I left the agency I ran into Mousumi at an advertising happy hour and I asked if she would come by for a portrait session. This must have been four or five years after my last print job. She came over and posed for me and then, later, called to ask if I would take some photographs of her with her sister in traditional Indian outfits. Of course I agreed.

We shot mostly in medium format film and mostly in black and white but I also did a whole series of them together and individually in color, on 4x5 transparency film. A devilishly hard way to do portraits!

They came out well and I made prints for them. Mousumi and I still stay in touch now nearly 30 years later. 

Photography has always been such a fun adventure.

 

Portrait of a young woman.

 

Anonymous.

When we moved to our current home the first thing I did with the property was to add a studio building. It's not large and it's not fancy but it has been convenient and a good resource for making portraits that I like. When we finished construction it was 1997 and I was still photographing almost completely on film. I had several digital cameras but they were slow and the files were never a match for the image qualities I could get from a medium format frame of film. Especially with black and white.

At one point I'd shot with three medium format camera systems. The Rollei SL6008s, the Mamiya6 and, of course, a variety of Hasselblads. But in the end I always came back to the Hasselblads, especially for the kinds of portraits I liked to do in the studio. 

I met the subject of this image at Sweetish Hill Bakery and asked her if she would come to my studio and pose for a black and white portrait. She agreed. We spent half an hour making the photographs and a bit longer in conversation. I was never looking for a smile or a typical, "sexy" pose. I wanted something more authentic to the person. I think I got most of what I was looking for in the portrait. 

And then she was gone. 

I think the portrait is balanced and "clean" looking. Nothing extraneous. 

Again, this is a copy shot of a print. The digital copy was made with an iPhone.  Even so, the image holds up well for web use...

Goat and Man in South Austin. Early digital. Kodak DCS-760 and a 50mm lens. It all worked fine.

 I was doing a lot of work for the theater and we were shooting a bunch of different images around Austin to promote the theme: "Keep Austin Weird." The writer thought that keeping a pet goat in a residential neighborhood qualified as weird and so I went off to get the pair to agree to collaborate with me. The human agreed but I think the goat had some reservations. If his owner wasn't holding on to him tightly the goat had a consistent desire to rush over to me and butt me with his horns. Other than that he was right charming...

It was one of part of a seemingly endless assignment that mostly consisted of getting into the car, then out of the car, building a quick rapport for a half hour and then heading out to the next photo opportunity. My favorite subject was an electrical engineer who made an entire garden out of dolls and doll's heads. Since he was an electrical engineer he thought it would be super cool to put red LEDs in each of the doll's eyes. At night his "doll garden" looked pretty freaky. Like something out of a horror movie. Lots of sinister doll faces with glowing eyes, all staring, unblinking, at you. 

According to the story the engineer welcomed a new family who had moved in next door by turning all the dolls' heads toward the neighbor's house. Didn't take the neighbors long to get that privacy fence built between the properties. 

I find it amazing in retrospect that I was able to spend so much time having so much fun with photography while at the same time buying a big house, keeping the family fed and healthy, and saving up for the inevitable rainy day. Or retirement. Whichever comes first. I always thought I'd have to do something boring and soul crushing for work to make it into the "good life." Seems all one really needs to do is learn how to help other people have fun too. Who knew?

Fun all around today without even touching a camera. Swimming, weights at the gym,  lunch with a friend at Whole Foods, the shameless purchase of a pecan pie there as well. Pushing out some blog posts. Making sure the comments are flowing like fine wine and ordering just one more Nanlite LED fixture from B&H. When B. gets home from San Antonio we'll head out for some really good Chinese food. All good here. Wouldn't want to trade with anyone!

Location portrait somewhere in the mountains in the midwest. Could it have been Virginia? Does it matter?

man waiting patiently to get back into his warm winter coat.

 I'd been on the road for weeks. I was working on a project for an enormous infrastructure company. They build things like lakes, damns and long distance electrical delivery systems. They were finishing up a series of high voltage lines across some rural areas and they wanted portraits of the key people on the ground for one of the projects to use in an annual report and in subsequent marketing. It was the third week of November 2018. A Monday. Probably the 20th. 

I'd been covering the wildfires out near Sacramento the day before. I got a note that we were on for the photo shoot in the mountains of Virginia, far from any major airport. The in-house travel people at the client side arranged for a redeye flight back across the country to Charlotte, NC, booked a hotel for what turned out to be a four hour rest stop, and booked a rental car for me as well. The next morning, armed with a GPS pin on my phone and a target time to meet a bevy of workers in pick-up trucks at a lone truck stop hundreds of miles away, I tossed my two cases of gear into a black Toyota Camry and headed north. By this point in the project I'd been in and out of a dozen rental cars. The one from the day before, out in Sacramento, was a Chevrolet Impala. It was not my favorite. The Toyota was a decade ahead in terms of user satisfaction. 

Halfway there I cruised through a McDonalds, used their mostly clean restroom and also got an Egg McMuffin and a large coffee to consume while driving ever north. (Just checked. The destination was Bastian Virginia). Say what you will about McDonalds but if you are traveling rural and you are on a tight schedule finding one of Ronald McDonald's golden arches can be key to survival. 

There's not much to Bastian but there was a BP gas station and that was our meeting spot. I needed to be there by 12:30 pm and I made it by the skin of my teeth. But the journey wasn't over yet. I met about twelve people there. They were spread out into four or five pick-up trucks and I was to follow them up into the mountains where, a short while later, we left paved roads and followed a crumbling, one lane dirt road up the side of a very tricky mountain. A vehicle with four wheel drive would definitely have been much more appropriate. 

We reached an overview that we all liked and I re-read my instructions from the marketing department in the comfort of my car with the heater turned up. At six or seven thousand feet in late November it was downright cold. I got out of the car and assembled a couple of electronic flashes on small, light stands. The company people took turns holding the stands steady in an increasing wind as I photographed their co-workers, one by one. 

Before we'd fired the first frame a light sleet started to fall. It got progressively worse. I covered the flashes with Ziplock bags to protect them from the moisture. We kept shooting because no one wanted to come back later and try again. We were two thirds of the way through the cattle call of portraits when the person who was managing this part of the project on the ground told me we should hurry it up because "weather was moving in." And he strongly suggested that before weather got there in force I should get my low slung, consumer rental car off the top of the mountain and onto some paved highway. We redoubled our efforts.  We wrapped a little before three in the afternoon.

The sleet got worse and the temperatures continued to drop. By the time I'd tossed all the gear in the car I could barely feel my hands/fingers on the steering wheel. I waved farewell to the convoy that followed me down the mountain and headed back South. I needed to get to Raleigh and be ready for another shoot the next morning at 9 a.m. somewhere just South of Raleigh. And my hotel was four or five hours away. 

It's fun to shoot environmental portraits. More fun if you don't have to drive for hours in either direction and stand around in a sleet storm to do them. But that's fun and challenge of commercial work.

It's so much easier when it's all just for fun. You can look at the weather report and decide to stay inside, sip hot coffee and read a good book instead... and later you can write and tell me, definitively, how I should have handled the job...

Yep. Same Godox AD200 flashes I'm still using five years later. Good investment for lighting combined with lots of travel. Might have to buy one more. Nostalgia purchase. 

Every once in a while I post a "vintage" print just because I like it. Mostly there is no story to accompany it. Unless I make one up.

Digital copy from original print. Started life as a piece of medium format film. Blossomed into a print in a traditional "wet" darkroom. A lighting test with a favorite assistant. In preparation for an editorial portrait. 

I'm in the slow process of restoring order to the little studio/office that sits just to the front of my house. We had a lot of stuff painted last month. The studio, through the largesse of the household, got a double dose of white paint on white paint. 

I wasn't in a hurry to put things right after the painters left and the paint fumes subsided so I left books and hard drives in boxes thinking I'd get right on it as soon as I figured out how to do so without depreciating the clean look of the bare, white walls. They look so....clean.

A little bit ago the CEO of a large ad group called and asked if I could "refresh" his portrait. He'd lost some weight, got into better shape, and felt that his older portrait was no longer working for him. We booked a day next week. Tuesday, I think. 

But it dawned on me as I walked into the office this morning that I had a bunch of work to do before the studio would be presentable. Workable. Comfortable for making portraits. So I guess I've started down the path of organizing and at the same time decluttering. But I'd much rather be out for a nice walk with a compliant camera. 

I met this particular CEO about 2.5 decades ago when he was an assistant marketing person at a big tech company. We've been working with each other ever since. Maybe this is what experts are talking about when they mention "compounding." Getting better at something; quicker and more profitable. At any rate I'm very much looking forward to our session. We'll catch up. And I know he's got some interesting stories to share. If I'm lucky I might get an invitation to this year's "staff" holiday party. We had a blast there last year. I promise that this time I'll be on my best behavior. 

The studio space is not very big. The working area measures about 24 by 24 feet. At the peak the ceiling is 14 feet high. Just high enough to float a generous big soft box over most peoples' heads when they are standing. But it's been quite workable over the last 26 years and since I own it I always enjoy the thought that I've been doing business rent free. And that's a big deal in Austin since the real estate market is pretty much insane and incomprehensible. 

Making one off portraits like this does not count against the idea of retirement. Mostly because I see the engagement as partly social. Touching base. Catching up. Comparing notes. Having fun. Gossiping about the industry. But since his companies are doing well financially I will send him a bill. 

Now that I have a client motivating me to get organized I'm looking forward to making more personal portraits in the space. Just for the fun of it. It feels like a good basket of reasons to get the studio back up to snuff. 

Note: Doing test shoots took all the anxiety out of client shoots. You had already dealt with the unexpected; the surprising. And so many of my favorite portraits came from those "practice" sessions. 

Satisfying when fun and business intersect.

 

Street Photography print digitized for web use with an iPhone. Expedient but somehow also appropriate.

My friend Paul called me yesterday to chat, and to let me know that iPhone 15 Pro phones were currently in stock at our local AT&T store. Fun news but not quite earthshaking. I use my current iPhone XR a lot for quick gear shots, visual reference notes and also.....phone calls. I also use it (sparingly) as a copy camera for the times when I want to show a print on the blog but don't want to spend too much time setting up a big copy stand and fancy lights to make a digital file of a physical print. 

The image above is an example of just that. And while I am sure that an upgrade to an iPhone 15 Pro would yield a "better" file I'm also pretty certain that the phone I already have does a "good enough" job already. 

I'd buy an iPhone 15 Pro if I was going to use it as a primary camera. From what I've seen the files are quite good; but like most camera files to get them "just right" requires some time in post processing. If I'm going to put in the time I still think I'd prefer to work with a bigger file, from a sensor with bigger pixels, and more choices of lenses. But the new phones are tempting. In the end, for the over-equipped photographer they just introduce yet another in a seemingly endless basket of choices one must make before venturing out to shoot...

Sometimes the real "magic" of a process is the quickness it provides. Would a bigger scan of the print enrich my life as a blogger? Probably not. Mostly because, as I've stated many times before, images on the web are meant to be consumed in the moment and very, very few people will return to look a second time...at anything. And, in all honesty, a 1600 pixel wide version of a 20x20 inch custom print is never going to translate the original in terms of impact or quality. Add to that the fact that over 74% of the views of any image on the web tend to be on handheld phone screens which ---- dumbs down everything.

*** the holidays are on us now. The canned holiday music fills nearly every store I walk into. Except for my local coffee shop. The employees there are still sampling from their own favorite playlists of contemporary music and so far, thankfully, I haven't heard a single jolly Christmas tune while buying the elixir of the gods. Hope that remains the case...

****Now is the time when vloggers, bloggers, YouTubers and all the rest make their press towards the goal of year end, personal enrichment. Be careful when shopping. Don't let the pressures of the plea and the season derail your better financial judgement. Content offered freely doesn't require you to overspend.  Just remember, the new Leica SL3 isn't going to be available until mid-year 2024 (conjecture!) so keep some "powder" dry.

*****What do the rest of you professional photographers do to get rid of the endless partial rolls of seamless paper that seem to reproduce like bunnies in the studio? Too long to fit into dumpsters or recycling bins. No photo programs exist anymore for donations. Where do they go to die?

Yesterday and today I broke my own rules about casual photography and brought along two cameras and two lenses instead of one. It worked out fine. Diving into the Sigma 16mm f1.4 and the 56mm f1.4. Both for "L" mount cameras.

 

I dropped by the HRC at UT for a second look at the ancient books show.

I had forgotten that the first floor gallery is closed on Mondays. 

But the restrooms are really nice. 

Part one: What are these mysterious cameras and lenses?

I took a step or two backwards, tossed all my full frame and medium format cameras into their storage places and started to reacquaint myself with a pair of pretty much perfect Leica CL cameras. The CL is an APS-C format camera that was on the market for six or seven years. It's small, light and easy to use. The colors coming out of the camera look great to me and, for the most part, I'm happy using it in the Jpeg mode, with a few tweaks to the in camera settings (higher contrast, higher sharpness). I have two because cameras should always travel in pairs. Same batteries. Same menu structure. Same lenses. Having two makes photographic life easier. 

When it comes to lenses I ducked out of the Leica cult for this system and embraced my practical side. I have tons of full frame lenses that fit on these L mount cameras, and most of the lenses I've been collecting are very good. From time to time I use the Sigma 24mm f3.5, the 45mm f2.8 and even the 90mm f2.8 on these cameras and get fine images. But I wanted some lenses that were small and light but also fast and high performing. I didn't want to drop Leica Cash for what is my secondary, playing around system so I looked into the Sigma Contemporary lenses that were designed specifically for the cropped format. They are all fast and are all good performers. I have the 16mm f1.4, the 30mm f1.4, the 56mm f1.4 (currently my favorite of the Sigmas) and also the 18-50mm f2.8 zoom. 

The most recent purchase was the 16mm lens and I haven't given it nearly enough of a workout yet. So, yesterday I decided to ratchet back a bit and go out for an exploratory adventure with a smaller subset. At first I intended to bring along only the 16mm and one body but I'm skittish about wide angles (this one is a 24mm equivalent to full frame...) so I brought along a second CL body and the 56mm. 

I draped one body on a neck strap around my neck and let the camera (with the 56mm) hang down, mid-chest. I put the second body, also on a neck strap, on my left shoulder. At first I felt a bit self-conscious wearing two cameras but I quickly got used to the set up and decided that no one was going to pay attention to what I was doing anyway. Most people are absorbed by their own daily concerns, traumas and triumphs in spite of what we might think. They are not spending a lot of time tracking your every move...

Part two: Here is what the 16mm produces. At least in my hands.

The 16mm turned out to be a fun experiment and from my general observation it's a good-to-great performer at all the usual apertures. The CL is a better camera than I remembered. The meter is pretty accurate and since I never try to use anything besides S-AF and Manual focusing, the focusing speed is fine with me. 

The following photos were all done with the 16mm and the CL over the last two days. Processed from Jpegs in Adobe Lightroom Classic.

Part three: The other lens. The 56mm (85mm equiv.)

Turns out the 56mm f1.4 lens is spectacular. Sharp wide open. Small and light. No discernible flaws such as excessive vignetting or soft corners. Just good performance across the frame in a very low profile package. I could use this lens for almost anything and be very happy. In fact, I am tempted to put it on the Leica SL2 and see how it performs with a 22 megapixel files from the APS-C crop in camera. I worked with the lens yesterday and today and was very pleased with the files. Some Jpegs and then today some Jpegs and raw files. All good. And I do have to say that it's pleasant to walk around with two cameras that add up to about one full frame camera in overall weight. Also, the lenses are smaller and lighter too. Nope --- they won't fit on the M cameras. And if they did it wouldn't be so great because they have no rangefinder cams for focusing. And since all the Sigma contemporaries are "fly-by-wire" without a camera that supplies an electrical signal to the lens you can't even manually focus them. Ah well. At least the M lenses can be used on the CLs with an adapter. And all the L lenses work too. 

These two lenses are a nice pair but I think the 16mm is a bit wide for most of what I like to shoot. For really "low impact" shooting the 18-50mm zoom is just about perfect for a day of street photography. 

All of the images below were done with the 56mm lens on a CL body. Yesterday and today. While everyone else was out doing laundry...

Converted from color with a preset in LRC

Seems like the people who exercise have no issues managing their weight...

A reflection in Shoal Creek.

Caution: Mannequin photos!!

The top portrait (the one at the beginning of this blog) was from today. The one 

just above is from yesterday. Fun with mirrors....

"It's gorgeous. It's gotta be from a monochrom only camera!!!"

Nope. Just an older APS-C full color body and one click in post. 

Take my workshops! Buy my presets!!! Oh wait. These presets

come for free with Lightroom.....and I don't "teach" workshops.  Oh well.

Yes. Austin now has In-N-Out Burger locations. 

We have nearly completed our California-fication.

We just need to start driving around with surfboards on the roofs of our cars.

Resist the lure and implied guilt of the Top Ten Lists.