Are there limits to the amount of sausage one should eat in one sitting? If so, are those limits clearly defined? Image from my last, large format, editorial assignment. Not that long ago...

Set up image at a BBQ restaurant in Elgin, Texas.

About ten years ago I got the assignment to do a profile on the city of Elgin, Texas by Texas Highways Magazine. I was fascinated at the time with 4x5 inch, large format photography and asked the art director if it would be okay (and within the budget) to shoot the project on 4x5" inch transparency film. He thought it would be a great idea. 

I headed to Elgin three or four times to get everything I wanted for the article. I was carrying a Linhof TechniKarden folding technical view camera with Zeiss and Schneider lenses. Because of color considerations and the slow, slow speed of the film we mostly worked with then I did a lot of lighting in interior locations. This image was lit with strobe, modified with a big softball, from the right of the camera. 

Shooting with the view camera was a much, much slower way to work. I averaged six or seven different scenes or set-ups per day. Most set-ups got eight to twelve shots, four to six were variations while the other four to six were in camera duplicates for safety. You know, in case the lab ruined one...

I look back fondly at that assignment. The images were fun and they were always a challenge to make. Nothing really beats making a photographer feel the work like diving under a black dark cloth to check focus and composition when one is standing in direct sun and the temperature is hovering around 105 degrees. 

Two coolers in the car: one for my drinking water and the other for the film. Good times. 


And yes, it is true. You really don't want to know how they make that sausage...

That's right. 4x5 inch reportage. Upside down and backwards.

Random news. Industry stuff. One little review.

We're celebrating our 30th Wedding Anniversary today. 

Of course, I give Belinda all the credit for our success.

I have some quick and easy advice for any of our younger readers who may be contemplating matrimony. This is advice that has worked very well for me...   Always marry someone who is smarter than you. You'll never regret it!  Now, on to photography and video. 

A real world hybrid story: This past Saturday I was shooting with two cameras that would easily fall into the hybrid category; the Nikon D810 and the Olympus EM5.2. I used them both, simultaneously, to record an interview with the very famous, original "DreamGirl", Jennifer Holliday. 

We set up a wonderful lighting design for the video interview and once the interviews were complete used the same lighting and cameras to make a series of photographs. (currently embargoed but coming soon...).  The ability to either grab the Olympus from its tripod, go to photo mode and enable I.S. then shoot, or to stand behind the big tripod and switch the Nikon into its photo mode and shoot, without making any changes to the lighting, pose or comp was very powerful. 

With custom white balances in place on both cameras the footage and the photographs are able to be used in one project; intercut in video or side by side in print and on the web, without calling attention to the different cameras or formats. In the space of five minutes we had 75 very good, still "keeper" to send to the client. And because of the difference in the cameras and the way they were handled there are different looks to the frames. One set more formal and the other set looser and more candid.

When you consider that in times past we would have done the still work and then packed up and walked away to allow the video crew their time with the talent you just have to be enthused about being able to switch back and forth in seconds. 

Even after the talent was through being interviewed and through posing for me I still kept the smaller camera in my hand with a microphone in the hot shoe for more shooting opportunities. The camera didn't go back in the bag until the talent left the building.

NAB Show announcements I'm waiting for: There are rumors that Panasonic has something big up their sleeves that will be announced at the NAB show (National Association of Broadcasters) that's happening this week. Here's what I'm waiting for:  Rumors suggest that Panasonic will be rolling out a disruptive new camera. I'm thinking it's a new model of the GH4 that will feature raw output to an external digital recorder but some people are thinking it's a new, interchangeable 4K video camera that will better the video performance of the GH4 and provide more usable interfaces for video work (XLR inputs, true S-Log, etc.) and still be under $5,000. A shot across the bow of the Sony FS-7.

I'm really hoping that Sony will show a revised RX10 that keeps all the good stuff (the lens, focus peaking, etc.) while adding in camera 4K video. If it does come out and it does hit the same initial price point as the original RX10 I'd stand in line like an Apple Fanboy to get my hands on one. 

It probably won't happen at this show but I would love to see Nikon wade in and rock the video boat by challenging Canon in the C100 space with a dedicated video camera that takes the Nikon lenses and incorporates their color science. But I think we'll really have to wait until they bring out a conventional DSLR with 4K before they move on toward a dedicated video version.

Taking the pulse of my friends who shoot with Canon: I have a close friend who is pragmatic and smarter than me by a long shot, especially when it comes to high end architectural photography. We've talked many times about his wish that he could easily put his four Canon tilt shift lenses on a Nikon D810 but he remains a Canon 5D mk3 shooter. For him the glass is more important than the sensor. When he really wants to pull out all the stops and needs more dynamic range he opens up the Pelican case and drags out the Leica S2 medium format kit and some incredible Leica glass. 

So I asked him, "what's next?" He gave me a sideways look and said, "The new Canon 50 megapixel camera, of course." His response to the dynamic range question is that so much control of dynamic range is in the lighting and careful placement of tones. In addition, since most of his subject's don't move it's easy for him to shoot bracketed frames and blend them in post production. His take on Nikon versus Canon for architectural shooters is that the performance of the 17mm and 24mm Canon T/S lenses is so superior that they trump just about any advantage of the higher res Nikon body. 

He also pointed out that the Canon 5D mk3 has been a rock solid performer for him for over three years. No focus issues, no "left side, right side issues, no weird shadow issues and no oily sensors." His final point was that early on the clients everywhere were blown away by the performance of the original 5D and the newer cameras basically doubled the performance of that camera. In the end the new cameras from Canon, unless they shoot themselves in their own feet, will keep the serious users of some specialty lenses loyal to the mark. And really, just about anything over 36 megapixels should be in the territory of highly diminishing advantages.  A switcher? I think not. 

A realization that, at least in video, the DX format cameras are the Goldilocks tools. While the color and sharpness of the video files from the Nikon D810 are satisfying the real reason that people are interested in shooting motion with full frame cameras is to get the narrow depth of field that's the visual hallmark of the bigger sensors. But many people (myself included?) are finding that the narrow depth of field is a double edged sword and it's easy to get burned by the narrow depth of field when a subject is moving around, close to camera and when shooting with longer lenses. 

The DX format offers a bit more depth of field and in many cases a more usable tool for "on the go" shooting. It's nice when stuff stays in the zone of good focus. It's bad when stuff goes soft. That's especially true on cameras that don't provide focusing tools that are usable when actually shooting. 

As the APS-C format cameras like the Nikon D7200 and the Canon 7D.2 get better and better video tools and codecs we'll probably see more and more cinematographers and videographers pick them up and start using them as everyday shooting tools more often than they choose the full frame cameras. Most already understand that the difference in imaging potential is less meaningful than delivering a watchable product. And being in focus is a large part of watchability. 

That's all I've got for right now. I've downloaded the 25+ gigabytes of video from this weekend onto a little HP hard drive and I'm off to deliver it to the editors. 

then I've got some down time in which to go out and shoot for myself. Now where did I put my Olympus EM5.2? 

Anybody miss this one the first time around? It's my favorite rant of all time. For photographers.

http://visualsciencelab.blogspot.com/2011/10/lonely-hunter-better-hunt.html

Seems like I am meeting more and more people waiting to do their project at some future time when all the stars line up....

All around good little camera. Why I keep grabbing the Olympus OMD EM5.2.

Kenny Williams. A quick photo between sets.

I have the belief that it takes more than one camera or one kind of camera to do a creative content business well. I've got a big, bruiser of a camera in the D810 that does well at making high resolution files with great color and dynamic range. The files are extraordinary. And yesterday I saw just how good the video from that camera could be as well as the sound. But I'm finding that the Olympus EM5.2 is just as important to have in the tool kit because it does many things well but isn't as ponderous.

Yesterday afternoon I was shooting a promotional video at Zach Theatre. We were doing interviews with the artistic director and with a talent who will be in one of the future shows. This celebrity hasn't been announced yet to the public so I can't show the video or name them but I can sure talk about how we did the shoot, what the results were and what role both the Nikon D810 and the Olympus OMD EM5.2 played in the production. 

I keep trying to  up the quality of my productions and each time I go out on location I learn new stuff. Yesterday I was using a cage or metal rig around my camera. I used it to attach things like my little mixer and the wireless microphone receiver to my camera. You can quickly run out of space with the little nest of attachments you might need to shoot video and also record good sound. But what I didn't realize at the time is that the whole rig was out of balance and a bit top heavy and whenever I made adjustments the touch of the knobs on the mixer translated into jiggly video. Live and learn. But I did have a safety net that kept the video from being ruined. More about that in a second. 

I've gotten tired of trying to determine the quality of video cameras from what I see on the web because everybody is hellbent on testing the high ISO limits on their stuff. I wondered how good all this could look if we did things old school. To that end, rather than depending just on available light or the little streams of photons from battery powered LEDs, I decided to really light the interviews. Optimally light them. Spend some time and energy lifting heavy lights up onto heavy stands and covering the lights with good diffusion materials and then really working them over with a light meter to be sure that we were getting what we pay for out of the cameras = great image quality.

We were shooting in the second floor bar at Zach Theatre and we were comping our frame so that we could include a lit sign that says, "Dream" across the lobby about a hundred feet away. I used a big, professional multi-tubed fluorescent fixture, covered with Rosco diffusion material on my left and up. I used a second light just to the left of the camera and about eight feet high. It was covered with the same diffusion.  A third fluorescent fixture, covered with two layers of diffusion, was position off the right side of the camera at almost 90 degrees.  Altogether it was a soft wash of light with a nice ratio between the key side and the fill side---very flattering for peoples' faces, which was my main intention. 

The quantity of light gave me some working room for exposure. The Nikon D810 was the primary camera and I was able to use it with an 85mm. The exposure was: 30 fps, 1/60th second shutter speed,  f4.0, ISO 250. Given that this is reputedly the best sensor in any full frame camera I thought that should result in some really good files. A much better test than shooting street lights at 12,000 ISO (unless that's what your projects routinely call for...). 

The files we got are lush and detailed and the skin tones are sooo right on the money. The benefits of careful incident light metering and properly executed custom white balance are apparent all the way through. No noise, not even in the black areas, no blow out of highlights and a luscious range of color correct tones throughout. This is what I really wanted to see. This is what I thought I was paying for when I bought the camera.  

The one glaring weak spot of the Nikon D810 as a video production camera is the lack of focus peaking. An aperture of f4.0 is great as long as your talent stays on their mark but ours moved during one part of the interview and the resolution of the screen and my old eyes just weren't up to the task of re-focusing accurately. The "fix" is to buy a good, external monitor to run off the HDMI port. Most of the ext. monitors include focus peaking in their feature sets... crikey. More expense to compensate for what Nikon could surely add in firmware...

Another issue I've grappled with lately was getting good sound into the D810. My Rode NTG-2 microphone doesn't match well when directly connected to the camera. There is an impedance mismatch that adds noise and reduces levels. I spent most of the afternoon on Friday playing with various audio stuff and found that the balanced pro microphones sound much better running through the Beachtek DXA-2T which has balancing transformers just for this purpose. But the best sound of all came from the Sennheiser wireless microphone kit I bought a few years back. While it doesn't need the transformers for good sound quality into the camera it helps to run any mic through the little "mixer" because it gives you the ability to turn down the levels heading into the camera with a physical knob instead of having to try and ride levels with an on screen menu (which I can't figure out how to make functional during recording....). 

I tested twelve microphone and mixer combinations along with running the sound through a Zoom H4n digital audio recorder and the best signal of all was with the Sennheiser/BeachTek combo. But having all of that hanging on the camera rig created my biggest problem. Every time I would use a knob to change levels the camera jiggled and vibrated a bit and ruined a few seconds of the visual content.  So, B-roll camera to the rescue!!!

While my early tests with the Olympus EM5.2 (as a video camera) were not stellar it is more than adequate to use as a b-roll camera to capture a different angle while filming. That second angle was critical yesterday because it gives me good footage to cut away to when my "A" camera goes all jiggly. Knowing we might need some cutaway stuff I brought along the EM5.2, outfitted with a 12-35mm f2.8 Panasonic lens and put them on a tripod over to the right of the primary camera and comped a wider frame. 

That camera rolled through the whole process with a fixed focus, and since the frame was wider and the depth of field greater (smaller sensor) there are no parts that can't be used because the talent stepped away from the original mark. Another observation I have to make is that I'm finding better ways to shoot video on the EM5.2. My original tests all used the neutral camera profile. Over time I experimented with modifying the profile by turning down the sharpening and the contrast in that profile. But I recently paid attention the choices and discovered the muted profile and have been using that for video, with the sharpening turned all the way down. It's much better. Still not as sharp and detailed as the big Nikon after post processing of both, but better than using the neutral or standard profiles on that camera. 

But I am here to testify that having just good video out of the EM5.2 was a lifesaver in this instance because of the need for cover-your-ass b-roll footage to compensate for my operating shortcomings with the main camera. Live and learn. Fortunately I had a nice little shotgun microphone in the hot shoe of the Oly camera and the sound is amply good for easy syncing up of the two sets of footage. 

By lighting everything well both cameras gave me better moving images than I'd gotten before. By using the BeachTek as a volume controller for the wireless microphones I also got better sound quality and more control than before. Learning can be a slow process of trial and error but sometimes the biggest obstacle for me is overcoming laziness and doing things the right way even though more steps are involved. 

Using the Olympus as a second movie camera was great but where it really came in hand was in quickly grabbing it off the tripod, flicking on the image stabilization and then shoot still shots of the talent and the artistic director for future marketing use. The Nikon was locked onto its cage and tethered to so many parts and pieces that it would have taken to much time to get it into the agile shooting mode. 

After I pulled down the lights, did my resistance workout with the sandbags and got all of the gear into my car the marketing director asked if I could shoot a few stills and a bit of video of Kenny Williams. Kenny is a wonderful actor, singer, dancer whom I have known for years. He was the featured, pre-show singer in the lounge that evening. Accompanied by a pianist Kenny was singing some really great jazz songs.

I grabbed the EM5.2, attached a little Azden microphone and headed back in to play around. Shooting handheld was fun and the quality of the image stabilization was perfect. Just like having a slider attached but one able to move in four dimensions... I was impressed with the footage at ISO 640 and with the changes I've made in terms of profiles and sharpening settings the footage actually looked quite good. I dropped the camera on a table and stood around to listen to one song unencumbered by my "production" mentality and then headed home. 

Now we have 26 gigabytes of content to sort through but I'm not the editor for this. I can't imagine trying to do production with uncompressed ProRes files. I'm not sure we could buy hard drives quickly enough. 

Final take? The still images from the Olympus were sharp and lovely. Really lovely. The video from the camera is working better for me, especially if I light the heck out of a scene and get all the other parameters perfect. The video images from the D810 are really, really good.  I just need to figure out the focus peaking issue. Either that or one needs to be able to "punch in" to the image (magnify) while shooting in order to make mid-course focus corrections. Once we get that sorted I'll be officially certified as a truly happy camper. 

And that's what we did for fun on Saturday afternoon.... Damn, those sandbags and extension cables are heavy. Time to find some strong, new assistants. 

The camera maker's lament: Is it reviewers who don't know what the F#$K they're doing or bloggers just deflating corporate hyperbole?

One of the reasons bloggers need to be careful and always be truthful about their affiliations with manufacturers of products about which they write is that those big companies are very, very good about trying to "bend" or delay a blogger's representation of their product. The marketing teams at major camera makers are good at identifying long term influencers in their niche. They understand the value of a great review and the costs of a "so-so" review. It's always in their best interest to control as much of the "presentation" about their product as they can. I get that.

But an honest opinion should not be for sale. If you are from "the company" and you think we've misunderstood how to best use the equipment it's up to you to tell me what the owner's manual doesn't. To clarify. To put me in touch with your technical staff in order to clear up any oversights I may have made in using the product. After all, we've generally had the cameras we test in our hands for a short amount of time compared to the engineers who actually designed the gear.....

I had a recent phone call in which the representative of a camera maker, unhappy with my observations about video files, asked me if I was using their brand of lenses in my tests.

A hint to everyone making a camera they want to aim at film makers, cinematographers, hybrid photographers, video bloggers, etc. :  People will put all kinds of lenses on the front of the camera. Some  lenses will have been made by Zeiss, some will have been made by Nikon and some will have been made by companies we've never heard from. That's part of the style, the business and the willful customization of video tools that goes along with this particular revolution. Telling people your product is only useful when using your lenses goes a long way to killing your own product from active consideration by a whole community of avid users.

When we buy product we are generally doing so because we hope that it will fill a need or offer a feature that we don't already have. Early adopters have no choice but to dive in and try the gear. To some degree we depend on the makers to be somewhat honest about their gear. For example, Olympus has introduced a "hi-res" mode to their new OMD EM-5.2 camera but they've been very, very good from the beginning about downplaying the feature for day-to-day, casual photography. They caution in their advertising and in the manual that it's a mode only to be used when on a tripod and shooting objects that don't move. They were good at managing expectations and I'm happy they did so.

Other makers tout focusing speeds that only really deliver in zero gravity environments or with non-moving targets that have optimum contrast profiles. Samsung touts their new 4K codec, h.265, as an advantage but anyone trying to transcode the codec to use with Final Cut ProX or Premier would beg to differ....

So, I offer my condolences in advance to the manufacturers but we'll keep calling them as we see them while trying to figure out work arounds to make the products work as they should out of the box. But redefining the parameters necessary for success after the product has left the showroom floor isn't helpful.

A small collage of Behind the Scenes images from photographic assignments.

I'm as guilty as anyone else when it comes to wanting to see "behind the curtain." How do other photographers set up their lights? What do their studios look like? How far away from the subject is the main light? How do they do their "jumping" shots? All the stuff that can be confusing when you are just looking at illustrations in books or hearing descriptions. 

When I started working on the LED book I really started to understand just how much detail people wanted to see when they sat down with a book in order to learn a new way to do something and at that point I started trying to make behind the scenes images of everything we set up. What I found out is that I am very much a creature of habit and love to "key" most images from the left (we read left to right--correct?), love to use soft lights and I could probably always use just one more C-stand or at least one more non-rickety light stand. 

note: I'm pretty tired today. I just transcoded the video I worked on for the past three weeks and I'm uploading the final to the client as I write this. Unlike still photography these video jobs have so many moving parts, the least of which seems to be actually shooting the footage. Motion graphics in particular can be daunting and are the components that are most detailed and engender most back and forth with clients. Finding the right typefaces to match client style books is always imperative and may mean buying and uploading different fonts than you currently have. Some changes in timing are also critical. We ended up experimenting with dissolves, etc. in tiny tenth of second increments.

So finally being finished means more than the fact that you've just delivered a good product. It means you worked with a team, built some consensus and collaborated well with your client. It can be a much more involved undertaking than turning in a well made photograph. But boy oh boy! is it ever a lot of time with your butt planted in a chair.

Makes the stuff in these behind the scenes shots seem like child's play...

Note the two lights on the floor to provide fill from the bottom...

Getting out from behind the camera to direct.

Sometimes all you need is a little "puff" of light to highlight your subject in a  bright environment.

 Black panels to the right provide "subtractive fill" for those times when you wish the shadows were more dramatic.

Small studio+long lenses= back against the wall (or filing cabinet). 

Note black reflector blocking sunlight from the windowns behind.

Ladders. Ladders everywhere.

Fill cards and diffusers abound.

Yes trampoline. Yes flash. No LED.

Eating French Fries in Austin. Reading about a photographer. Novel excerpt.

 A WARM SUMMER DAY EATING FRENCH FRIES AT HILL-BERTS BURGERS WITH BEN AND MOM.

An excerpt from the novel, The Lisbon Portfolio:

"...As Henry shuffled back down the whitewashed walls of the narrow, high ceilinged hallway he could smell the odors of cooking coming from somewhere on the floors below.  The tantalizing smells of grilling meats brought back a poignant and very visual memory.  

The day his memory conjured up was a warm, slow, summer saturday.  Henry, his sweet wife of eighteen years, and his five year old son had watched cartoons on the television, worked in the garden and enjoyed the leisure of the hot, bright morning without a schedule.  His son Kip had the idea to go out for hamburgers at lunchtime.  No one had to mention the restaurant, they all knew it would be Hillberts.  The moment came into clear focus.  Henry relived the pleasures of the refreshing air conditioning that blew from two noisy and obsolete window units perched opposite each other on top of either glass entry door to the restaurant.  The ordering counter was a long stained,  construction of white formica, accented throughout  with tiny gold flecks. Atop the counter two old cash registers stood guard.  Run by a congenial hispanic family, all the cooks were Hispanic.  They all dressed in white tee shirts and the red trimmed, white paper, disposable hats most restaurants gave up during the transition from the 1960’s to the 1970’s. 

Opposite the ordering counter was a wall of floor to ceiling windows. A sixteen inch deep ledge ran horizontally across the expanse of the windows creating a quick lunch counter. Every three or four feet yellow and red plastic squeeze bottles held mustard and ketchup. Plastic salt and pepper shakers were distributed across the shelf in no apparent pattern. Swiveling round stools on thick silver poles, bolted to the floor and covered with shiny, yellow plastic cushions, provided seating for sixteen customers.

Henry and his family sat three across at the window counter.  Henry could feel the heat of the hundred degree day radiate through the glass. But the air conditioning was cool across his back and on his bare toes, sticking out from the straps of his worn, leather sandals.  The sunlight cascading through the wall of windows was subdued by a yellow translucent shade that flapped listlessly across the front of the building.  Kip, his son, vibrating with the natural energy and joy of a small child sat between his parents and relished the kinetic nature of the rotating stools. He spun his tiny body from side to side. And the seat swung with him.

They ate “home town” burgers piled high with iceberg lettuce, sliced white onions, tomatoes, pickles and yellow mustard.  French fries were shared out of white paper bags that had been twisted shut by practiced hands, nestled in red and white cardboard containers called “boats.” 

Henry kept an eye on his son.  He was proud of Kip’s lack of fear, loved his clear, uncompromised logic, took great pleasure in the child’s blond curls and the smart gray- blue eyes which already seemed so wise and worldly. Kip lavished ketchup from a plastic red squeeze bottle all over the nearest nest of french fries. His lunch vacillated between ketchup finger-painting and stool spinning; eating was so secondary.  Then he stopped, picked up his oversized, white styrofoam cup with both of his small, perfect hands, pulled the red straw into his mouth and enjoyed his lemonade as only a five year old boy can.  

At that moment he turned and looked up at Henry.  Their eyes met and Henry melted as he saw the look of pride, affection and lack of judgment in Kip’s eyes.  It was one of the quietest, most powerful moments of sheer joy Henry White had experienced in his forty six years. 

He pulled a film camera up to his eye from it’s resting spot on the end of a nylon strap, dangling over his left shoulder.  He tried to capture the warmth of the day.  The honesty of the little neighborhood burger joint. The promise and the power of a five year old boy.  And the unyielding support of a wife with a surplus of compassion for his weaknesses and failures.  This moment from his recent memory was so strong for Henry that it was akin to watching a snippet from a movie.  But instead of just sight and sound the memory captured all the pleasures of the warmth and the cool currents swirling together in the noisy restaurant.  The voluptuous smell built from decades of deep fat frying potatoes.  The feel of the glossy plastic seat under his bottom and the air circulating through the old sandals strapped to his feet.  But most of all he could feel the love that flowed through his heart and his chest when he looked into the eyes of the boy.  

Now the memory started to torment him because Henry knew it would be at least a week before he could sink his teeth into a burger at Hillberts.  He was already constructing it in his mind.  It would be a celebratory  burger with two hot, dripping patties, all the usual condiments and a generous mosaic of hot jalapeno pepper slices.