Cedar Fever has struck Austin. One photo blogger severely compromised. Fighting back with Zyrtec and limited outside activities. Ah well, more time to blog.

Belin and Rosemary Sprigs.

The resplendent glory of living in Austin, Texas in early January. The juniper cedars are throwing off millions of metric tons of pollen (as is typical this time of year) and legions of Austinites are sneezing, coughing and driving around with eyes redder (and itchier) than the fiery pits of hell. Cedar Fever allergies cause one to want to sleep around the clock and the only balm for scratchy throats is endless coffee. 

I am currently humbled by my own hubris. Hard won intelligence in the war against Cedar Fever tells us to start taking industrial strength Claritin or Zyrtec at the first sign of a sniffle and then not to relent (or let that green capped bottle out of your sight) until the allergy forecast on the web sounds the all clear. Rain helps. We don't have any of that right now. But I made the critical mistake. There was a lull and I went without my antihistamine of choice for a week or so. Then, on Friday, the cedar pollen levels lurched from "high" at 1,000 to "off the charts" at over 7,000. I was caught short. 

Now, even with a renewed pill regimen, I can barely make it from the coffee maker in the kitchen to my studio/office only a handful of yards from the front door of my house. Two cups of miracle brew in and I'm just now feeling quasi capable of getting through a phone meeting I have scheduled in nine minutes. If I weather that then the next goal is to make it to lunch and.... we'll see what happens from there. 

Studio Dog gave me a look that said, "Don't fight it. Find a comfortable spot over here on the couch and curl up. Take a nap." I can't give up on my professional activities so early in the year....

I'll spend the rest of today in the office working in Lightroom on the files I shot during Friday's portrait shoot. Hopefully that will help me avoid the incessant allergy shrapnel lurking just on the other side of the door. 

How's your New Year treating you? Where's the Kleenex? Can somebody make coffee....again?

Working in the middle of chaos.

I've recently been posting some images I took in NYC at the 2013 Photo Expo for Samsung. It was a busy Fall. I'd just come off a ten day stint in Berlin for the IFA show (kinda like our CES show only bigger!) and a camera beta test,  and a couple of weeks in Denver being filmed for our Craftsy.com classes (Now rebranded as BluPrint and majority owned by NBCUniversal - A Link? ).

The folks at the public relations firm for Samsung's Galaxy NX launch liked me well enough and hired me to head up to the city and work at their trade show booth taking images with the new camera and the system lenses. We shot for hours each day with two different models and generated about 4,500 files in the three days of the show. All the images were put up on big 4K television screens as we shot so people could see, in real time, how the cameras worked and how the files looked. Occasionally one of the cameras would crash because it was still early software, but we had a technician on tap and he'd fix the issues expediently.

Space is tight at trade shows and our shooting area was tiny. We had a couple of small soft boxes and some inexpensive monolights but little in the way of additional reflectors or light modifiers.

In order to back up enough to use 60mm and 85mm lenses on the APS-C sensor equipped bodies we had to back up right to the intersection of the booth and the public so we ended up, frequently, answering questions from fellow photographers as we were shooting. It was mostly good natured fun with a few exceptions such as the "photo enthusiast" who came by repeatedly to tell us that "pros only use medium format cameras. Digital isn't good enough yet!!!" And this was, of course 2013 when most digital was more than adequate.

On our breaks we'd walk the floor and look at all the cool camera and lens porn or try to beat other equipment reps out of free lunches or dinners (I got invited to the intimate Olympus dinner at a famous, and very good steak house, to get a hands on evening with their new EM-1 camera; and the Panasonic sponsored happy hour was pretty cool...).

The noise levels everywhere were high, high, high. But I when I shot I wore a headset microphone so I could make observations about the cameras and the process to whatever assembled audience was on hand, and also to direct our models. It was a blast to do all this once but it got old quick. By the time I was on a plane and headed home I was deep into writing one of my most read blog pieces ever, "The Graying of Traditional Photography..." But looking back through the photographs this week I can see I had a much better time than I remembered.

I like to use a "stand-in" for the final portrait subject when I'm getting my lighting set up. Sometimes everyone is at lunch and the stand-in is me.

I pretty much know how the light from a soft box is going to look, and the same goes for a light in an umbrella, but sometimes you end up in a location where you are shooting against windows and there's all kinds of light bouncing around outside (and inside) and you really need to make sure there's not going to be a big reflection staring back at you in the glass....

After I get my lights roughed in I like to ask someone to stand in just so I can see how everything is working out. And I like to do that before the star of the photo session walks in so I don't have to waste his or her time resetting errant lights. It's also good to know just how much depth of field you are going to end up with at a given subject-to-camera distance and also how it will affect the background. Right?

So, I was setting up to photograph the CEO of a hedge fund late last year and when I finished my set up I found that everyone in the office was either in a meeting or out for lunch. My assistant for the shoot was me. So I grabbed my assistant and demanded he stand in for some test shots. He grumbled a bit, told me he didn't get paid enough to do this, but I finally got the guy to cooperate while I set the self-timer on the camera and walked back to stand on the mark I'd made with white gaffer's tape, on the floor. 

I was then able to assure myself that we'd have a fighting chance of getting a decent shot of the CEO as soon as the cast came back from meetings and lunch. It all worked out fine but even though I've done this sort of shoot for decades it's nice to have the extra layer of assurance that comes from a decent test shot. 

I now realize that self-timers on cameras were invented specifically so photographers could do a one-man set up and test for on-location portraits. Anything else they tell you about self-timers is B.S. 

I don't always look so stern but when I have to switch roles and become the stand-in/assistant I want to make sure the photographer knows I'm taking my job seriously. Those photographers are demanding bastards; that for sure!

No assistants were harmed in the making of this self portrait. 

(Damn. I should have retouched......).

A Camera with a different character. The Sony RX10 series.

A friend who is not a "photographer" and doesn't want to start collecting gear, asked me to recommend a great camera that would make good images and allow him the most flexibility for shooting everything from wide angle scenes to kids playing sports. I thought about all the interchangeable lens cameras I know about but my friend is a guy who is unlikely to want to change lenses or keep several lenses in a bag. It was a weird moment for me to realize that there are lots of other, sometimes better options, out in the world besides our traditional, mirrorless or DSLR system cameras, with their raft of lenses, accessories and operational traditions. 

I thought back over all the work I've done in the past ten years to come up with a camera that I had personally used and enjoyed, but one which would also meet the more limited operational parameters requested. After I cut out all the interchangeable lens cameras I was left with a handful of choices. There are the artsy-hipster-advanced artist, fixed lens prime cameras like the Ricoh GRIII and the ever-iterating Fuji X-100x series but the wide, fixed, prime lens is far too limiting for anyone other than a person who might want to have a small camera to play with but who also possesses a massive inventory of "real" cameras for those times when portraits and other long lens scenarios come into focus...

Eliminating the "art school" camera set left me with just a couple of options. There's the compact, zoom lens cameras like the Sony RX100x's and the Panasonic Lumix LX100ii but I think they are too tiny and fiddly to work with. Then I found a folder of images I made one year when I took a Sony RX10iii to the big Spring party in Austin called, "Eeyore's Birthday Party." Smiling as I flipped through the images in the folder I realized that really good, longer telephoto capability is one of the things that separates really useful, impactful and highly competent cameras from "fun, handy" cameras. 

I sent along the information about the Sony RX10iii, let him know that there's a newer model but that I hadn't used it yet, and I also sent along a folder full of color and black and white images I'd taken with the camera. He was hooked. Then he saw the pricing on the RX10 series and paused. He's using a borrowed RX10iii right now but every time we speak I can see that the camera is sinking its highly capable hooks into his wallet. And his visual vocabulary.

I love the RX10 series. Each new model had something to recommend it (and a deletion to bitch about....) but I'd almost forgotten that the lure and allure for me on the two later cameras is the absolutely first class long end of that 24mm-600mm equivalent zoom. I can isolate subjects, defocus backgrounds and get stellar stabilized results with much less hassle than trying to do the same with a professional, full frame body and a bag full of lenses that, when used together, give me the same kind of reach but with the burden of more weight and complexity than most people (who aren't being paid to make photographs) want to endure.

I should never have opened the folder and re-visited the images. Now I feel the attraction of the RX10IV. Resist. Resist. Resist.

Some images from my vacation to Montreal, Canada. Re-imagined in black and white.

Coffee at Crew Café. Montreal, Canada.

These were all taken with the Pentax K-1 I was using back in October. Along with either the 28-105mm lens or the 50mm f1.4 lens. I photographed in color (Jpegs) and converted to black  and white in Adobe Lightroom. It's fun to see them in a different way. One of the pleasant things about seeing new work and then setting it aside for a few months before coming back to it fresh.

 

One small soft box from top left and one small soft box on the background. That's all we could do in the space.

For Samsung Project in NYC.

If you click on the image you can see it bigger and I think that makes this better...

OT: An amazing day on the stock market. Congratulations to those folks who bought Apple Computer stock last year. Or the year before. Or the year before. Or.....

I remember sitting in a meeting for vendors, at one of Apple's main competitors back in the 1990s, when the CEO was asked (in a Q&A session) about Apple as a competitor. The young and brash CEO chuckled and said that Apple was on the way out and if their management was rational they would give the cash and assets on hand back to the shareholders and turn out the lights. That was then....

Today the company run by that CEO has a current market cap of about $39 billion while Apple hit a record today with a market cap of $1.3 trillion. Apple, as a company is now worth nearly 40 times what  that particular competitor is worth today. And, with just cash on hand, Apple could buy that company outright. It's an interesting turn of events. Apparently, beautifully designed products really do matter to a very large swath of consumers. So much for specsmanship and racing to the bottom with pricing. 

So, in March of 2019 you could have bought say, 6,000 shares of Apple at $142 for around $852,000 and now, less than one year later, your investment would be worth $1,800,000, not even factoring in Apple's ongoing dividends to shareholders. That's a better return than one could expect from even a decent photography business!

Of course past results are no guarantee of future performance and what goes up usually comes back down. It's just an interesting time and I took note of it because one of my friends who used to be a photographer called me today to breathlessly talk about his good fortune. I wish we were all so clairvoyant? Strategic? ...... Lucky? 

I just wish Apple would make a camera other than the ones in iPhones. I'd probably buy one...