What FujiFilm gets just right that all the other camera makers royally screw up on. It's a big deal and it may affect the way you interface with your camera. #Scandal.

I've endured the same insult from camera company after camera company. If there was ever a way to decrease your pride of ownership just enough to give you pause it's this. It's a side effect of relentless and sometimes tasteless branding...

It's those damn camera straps that come packed into the boxes with our brand new cameras. I've bought four Panasonic cameras in the last year and each time I am disappointed and aesthetically insulted when I pull out the plastic wrapped, nylon camera strap that has bright yellow on it and huge white, embroidered letters, all over it, contrasting with its black background. They are nothing less than a garish advertisement for a camera you've already bought.

The Nikon straps are particularly ugly. They stand out like a beacon which says of the wearer, "I have absolutely no taste when it comes to carrying my camera in public." But hey, Canon users, don't get smug because Canon straps are just as ugly and poorly visually designed as most of the rest of the camera makers. I'm guessing the camera makers were all sitting around in velour hip hugger jeans in the 1970's, Dingo boots up on the conference table, and someone said, "Well, we'll always be including camera straps, let's just buy tens of millions of these groovy and far out straps with our logos in big, bright, poorly chosen typestyles. That way we'll have a fifty year supply and we'll so beat inflation." And the whole design group agreed and then went out to celebrate with Boone's Farm apple wine and Pinå Coladas. Leaving generations of camera buyers either so embarrassed about the straps they are provided that they went elsewhere and fostered a whole third party industry aimed at making better camera straps; or alternately their design decision created a public eyesore as people with horrible taste just ignored the hideous type and offensive colors of the straps and used them anyway, thinking, I am sure: "Well, I already paid for this I might as well use it." 

I'm guessing camera companies got together and had a contest for who could not only design and produce the most visually offensive shoulder strap, but whose oafish customers they could convince to actually wear them along with the camera. I'm guessing Nikon for the overall loss...

I was already stripping my understated, all black Tamrac camera strap off another camera to use on the new Fuji XT-3 in the house when I opened up the box to see the camera and check out the accessories. I was stunned and elated when I found the included strap. It's black on black. Not too wide. And the only branding on the strap is a discreet and almost invisible debossed logo on the non-slip strip of material that rests on one's shoulder. I had to turn the strap in the light to even see the debossed logo.

The strap is just about perfect. From an aesthetic perspective it IS perfect. It's quite enough that Fuji has their logo in white against the black of the finder assembly on the front of the camera. They didn't feel the (desperate ???) need to festoon it in a heavy handed, heavy metal manner all over the strap.

Had more makers focused on making their straps discreet and functional accessories instead of embarrassing shoulder mounted billboards (complete with "exploding balloon" logos) it's likely that abominations like the Black Vapid straps would never have hit the market. So many cameras would have been saved from accidental destruction. So many owners spared the agony of a camera getting loose from the tripod mount....

Kudos to Fuji for having good taste and for finally being one of the cameras manufacturers to provide us with a usable accessory. Black strap. Demure debossing. Perfect size and width. Well done.

Now admit it. One of the first things you do after you open the Nikon or Lumix box is to toss out (into the trash) the abomination of a strap that comes with your new camera and get online to shop for something that doesn't scream out, "I'm a cheap-ass moron with very bad taste." 

Thank you Fuji for getting a small detail correct and, by doing so, bringing a genuine smile to my face.

Like a dog with someone's favorite slipper....I just can't let go of all the landscapes I shot last week. Here's another one...

Note to self: Next trip to Iceland, bring a car full of supermodels to act as close foreground subjects in my photographs. This would give my images a heightened sense of depth that I'm afraid they are missing at the moment. But I do like this craggy sunset shot. The very end of the day, after the crowds headed to their buses.

Some one asked a serious question on the blog a few days ago and that was whether it's worth it to bring a large format camera on their expedition to Iceland. I can only answer for myself but my advice would be absolutely not.

Now, I am presuming they are referring to a large format, view camera. Something with a bellows and front and rear standards. Something that requires a dark cloth or a hood under which to focus. Something that takes 4x5 or 8x10 inch sheet film.

The simple reason I would advise this way is the prevalence and unpredictability of the wind in most places; especially near the sea shores. I think most bellows cameras are in their happiest zone with no wind and get progressively more anxious as the winds pick up. Somewhere around 15-20 mph the bellows+wind would make stability impossible and higher gusts than that would eventually cause the bellows to lose its structural integrity and its ability to be light tight.

Bring a camera you are ready to carry all day, deploy quickly and use mostly handheld.

One of the major appealing features for me of mirrorless cameras is the ability to set a 1:1 aspect ratio and see it, without clutter, in the evf.

Many of us spent years operating square aspect ratio, medium format cameras. It's always a delight for me to find that feature in a new camera; the ability to see and take photographs in the square. It's one of the things I didn't like about recent generations of Sony A7 series cameras; the technology was there but the Sony engineers didn't seem to understand that adding the 1:1 aspect ratio was important to many photographers.

How many photographers? Hmmmm. I'm not sure Tony Northrup has done an authoritative study on that parameter yet but I can guarantee that the group who feels very positively about square crops has at least one avid member....

The 26 megapixels of the Fuji sensor adds a bit more information to the square frame. The shot above is from a Panasonic G9. It's a good time to be a square shooter. Or a shooter of squares.

As to the image: Diagonals, depth, color contrast and nice sky; who could ask for more?

(well, it would have been even better with a beautiful model in the closer foreground. Next time).

I blame it all on my birthday. Why else would I decide to buy a new camera once I got home from Iceland?

It was a strange moment. I had a long layover in the JFK airport before my flight to Reykjavik. That's sometimes the nature of living in a city that's not a hub for a major airline. I was cooling my heels and reading some work by Emmaneul Kant (doctrine of transcendental idealism) when I decided to take a mental break and pander to the primordial side of my brain. I wanted something vapid and easy, like cotton candy, to read. Of course, my first thought was the lugubrious equipment reviews at DP Review.  So I pulled out my laptop and went for a look. Morbid curiosity? At any rate they had a review of a camera from a company whose cameras I haven't used since well before 2006, and that would be Fujifilm. So, there was the new review for the XT-3 and looking at photographs of it sure reminded me of dozens of old, film type cameras I remember playing with. It's festooned with all sorts of dials and buttons that harken back to the days when living, and shooting, was easy and straightforward.

I made a mental note to do more research when I got back to Austin. In my sometimes jejune manner I reasoned that a long journey, with arduous periods of enforced inactivity, on my birthday, had somehow earned me the right to pop for a new camera. A 63rd birthday present to myself.... I knew no one else was going to get me one...

In the intervening nine days I worked with my Panasonic G9 and was delighted by the technical quality of the files. The color, especially, is exactly to my liking --- even in Jpeg files pulled directly from the camera. But once the glands in my brain that secrete hormones regulating (or accelerating) acquisition come into play my desire for something new and different can be very difficult to dislodge.

I was back home for a couple of days and decided to go to Precision Camera...just to replace the Godox AD200 flash unit I demolished in Fayetteville, North Carolina. I had a little free time so I handled the new cameras I'd been reading about. They had the Nikon Z7 and I liked the way the shutter sounded and felt,  and the quality of the EVF, but I wasn't crazy about where my pinky finger ended up when holding the camera; with my average hands that finger falls right off the bottom of the camera.

I took a look at the new Canon R but it didn't budge the excitement meter that should at least register when one holds a brand new camera in one's hands. "Have you played with the Fuji?" Asked my professional camera equipment consultant. No, I had not. For some reason I'd been subconsciously been avoiding contact with the brand, even though my friends who own them have raved about the files they get from theirs.

I guess it's the tales of weird and wacky raw conversions from the X-trans sensors and solemn denouements of the older Fuji cameras' autofocus that stopped me cold. I kept waiting for stuff to smooth out over successive updates to the line. But with a nice, new BSI sensor, new AF performance improvements and a total revamp of the video capabilities, the XT-3 camera suddenly became interesting to me.

I bought a black one with the basic (and well reviewed) 18-55mm f2.8-4.0 OIS zoom lens. I thought about having it gift wrapped for me but decided that was one step too far.

I've had the camera for three days now but I haven't shot anything with it yet. I've had so much to catch up on, including downloading about 100 Gigabytes of material from Iceland and another 50+ GB of material from my corporate shoot before that. I also needed to head down to San Antonio for a first hand visit to my dad. I wanted to be sure he had been well taken care of during my absence. He was.

I took the camera along with me today to shoot some promotion images for a renowned magician but I ended up lighting everything with studio flash and, at the time, didn't know what Fuji calls the setting which gives you a bright view of a scene instead of a preview. You need that if you are going to shoot with studio electronic flash. Now I know what they call it and where it lives in the menu. (Vital info). I keep meaning to head out the door and head downtown to do a circuit with the new camera but it's gray, cool and rainy outside and I'm still a bit jet-lagged (actually, make that: Lay over lagged). I have time tomorrow, I'll give it a good workout then.

I've already identified a missing lens from the Fuji line up. I want a 70mm f1.4 or f2.0 as a portrait lens. I might order a Pen F to Fuji adapter and see how the ancient Pen F 70mm f2.0 and the 60mm f1.5 work on the new body. I hope I warm up to the camera and lens soon. I really can't return it as it was a gift from someone special...

Seriously though, does this presage a plunge into the Fuji camp? Only time will tell.

If you are a Fuji user and feel like providing me with good, operational tips or lens selection tips I'd love to read them in the contents.

A big wind up here but no big pay off. Just another somewhat irrational camera purchase. I wish I could tell you I finally broke down and bought a 100 MP Phase One camera and a box of lenses to go with it but I can't bear the idea of working with those huge files.

Just getting work done here. Four days booked next week and I'm still behind on laundry. Some things never change.

The false, tongue-in-cheek reveal of my newest camera "system."

I promised to reveal my latest camera purchase tomorrow but I thought I'd write something more fun today. I mean, really, who cares what I bought myself for my birthday anyway? It's nothing rare and fascinating. Just another toy for a spoiled 63 year old....

Here's today version:


So I was at this church parking lot and I went to back up my car. When you put the car in reverse the back up camera springs into action and a screen on the dashboard gives you a view of what's behind. I was fascinated by the in your face reality of the image I was seeing. A whole different way of seeing. If only I could capture this unique vision it would bring a whole new level of insouciance to my already tortured personal work.

I quickly drove home and pulled the Honda CR-V into the underground, thirty car, parking garage underneath the Visual Science Lab headquarters and started taking the car apart to see just how the camera and lenses that comprise the back up system were made. It seems pretty obvious that it's a video feed but as a still photographer I wanted to capture stills from from the feed. I grabbed a few Alien Ware gaming computers we had strewn about the shop floor and installed power supplies in the laptops that would work with 12 volts of DC electricity from the car's electrical system. I split the cable providing the video feed and ran it through a de-stabilize/re-stabilize archrinic filtering system in an attempt to improve the signal. It was getting better all the time. It was very, very Nyquist. And accutance-y. With profoundly muddled adjacency effects.

One fault of the camera is that it's a bit noisy and as you know I can suffer absolutely no noise in my images so I knew I needed to add light to anything I'd photograph with the system. To this end I put a serious roof rack with an inverse ceiling grid system to work and put several Broncolor flash systems on the roof of the car. I can trigger about 6,000 watt seconds of flash power with a big red button I wired directly onto the dash board. I decided the flashes were no good used directly so I opted for small softboxes on the six heads I intended to use. A quick test trip revealed that the wind generated at speeds in excess of 110 mph tore up the conventional softboxes in short order. To be honest they weren't doing very well even at 10 mph, so I had the VSL machine shop whip up six 30 by 30 inch stainless steel soft boxes with frosted 3/4 inch frosted Lexan for the fronts. You know, to diffuse light. With a bit of wind tunnel streamlining and some back and forth with the design team rev#13 gave us the aerodynamic profile I was looking for.

Once I'd color corrected and built a profile for the camera and rear facing lens we were ready to test. The routine is to find a scene that looks like a good candidate for the car camera and then turn the car around and back up toward the subject. This scared several mothers of cute young toddlers as we rocketed toward them in reverse, trying to get exactly the right angles and crops. The screeching of the tires and the sound of metal on metal from the brakes caused the small children to squeal in delight. Their mothers were less enthusiastic about our efforts to meld cars with photographic art. In the end we prevailed, the flashes worked and we pulled some stunning 600 by 400 pixel images out of the effort.

Now that file size might not sound like much but remember that we're deeply into the age of computational photography so running the resulting files through an Apple iPhone for a couple hours cleaned up the image nicely.

Now it looks something like this: This is the final output from hours of computational photography, machine learning and A.I. graphics restructuring. Unlike anything one could get from a conventional camera system.....

I think, if you squint and use your imagination, you'll agree that we're on to something here. I've been told that the back up cameras on the bigger Lexus SUV's have better bokeh so we're looking for volunteers who will let us rip the cameras and the imaging guts out of any 2018 Lexus SUV of which they are not especially fond. It's for art and research, who could resist?

Tomorrow we'll circle back to more conventional, boring cameras. 

Some alternate looks at Iceland. In town and out of town.

It seems that no matter where I end up I walk around and find public art/graffiti that I really love. This painting took up the whole side of a building and you can see that it wasn't a "spray and dash" initiative but a work that took time and no little measure of skill and good taste. I was amazed when I saw it as we drove by in the dark on our first morning, coming into town. I despaired of ever finding it. But one day I slapped on fresh boots, lots of warm clothes and a micro four thirds camera and went hunting. I must have a nose for it because I seemed to head straight to the part of town where this wall art lives. There was more. I'll show it later. This seemed just the sort of photography that actually calls for a wider view so I made use of the 15mm Leica/Panasonic lens and was happy to have brought it along. The weather is hard on outside art in Iceland. Just about the opposite kind of damage that the harsh sun inflicts on the Texas versions. 

My fascination with doors and doorways began back in 1985, the first time Belin and I headed to San Miguel de Allende, Mexico. The doors there were more gothic and primitively finished and have been the subject of many photo essays over the years. I'm not familiar with a similar collection of door photographs from Iceland but these two door in a central neighborhood in Reykjavik just called out to be photographed. I tried to be very careful to get and keep my verticals straight up and down, and in the final image I may crop out the railing on the left of the frame. I used the square aspect ratio that the G9 provides, not because I am incapable of cropping, but because I wanted to make sure I got what I wanted the first time around. I guess it's some kind of wacky attempt at proto formalism. 

The image just above was one of my many efforts to get layers of depth into my landscape photographs. I'm sure if I had used a larger format it would have been much easier to have parts of the image out of focus. But I'm pretty sure that's not what I was going for....

I loved that there were buildings with red and blue roofs in the lower middle of the frame. It was my attempt to show the scale of the mountain in the background. I couldn't resist keeping the white fence in the foreground. I realize a technique that's new to me and then I become like a dog with a bone and try to overlay that technique on everything I shoot... Tragic. Sad. Fun.

Kirk's idea of landscape heaven. Lots of "human evidence", diagonals, leading lines, Disney skies and fence that starts in the (right hand) foreground and goes ambling off in a classic example of "vanishing point" perspective. Now, if the building in the foreground had only been a coffee shop and bakery with hot muffins coming out of an oven and a perfect cup of coffee waiting for me on a spare and glistening countertop....

I'm waiting for my VSL group critique of the landscape stuff. It's all new to me...

I'm a bit single minded about photographing people. With a camera in my hands I'm always looking for someone to put into my scenes. Sometimes it's to show scale. Sometimes it's just for fun...

Our guide, Albert, pilots our Sprinter van toward our first photographic destination of the morning. Who can resist some nice direct sun flare. I'm sure my B+W UV filter helped generate some of that..

I liked sitting in the back row. It was four seats across and no one else liked to sit there because when we hit bumps the person in the back would bounce off the seat like crazy. Fine with me, I laid down across all four seats and napped between stops...

I can't resist a leading line, and S curve and some foreground/background contrast. I know I should have been looking at the waterfall but I couldn't wait to get some people into the foreground of my first variation of establishing shots. The red jacket against the green grass is always a bonus. 

The glacier is behind me. But the people are more fun. The smile and interact. The glacier just sits there being cold and imperious. And cold.

Foreground, mid-ground, background. And a bit of sun on the mountain top. What's not to like? Oh, and diagonals. Diagonal lines are always a bonus for me.

These were my second favorite hiking boots. They are comfy but the old Lands End boots (from their heyday in business) were the most weather and cold resistant. 

All images happily shot with a Panasonic G9 and either the 12-100mm Olympus Pro lens, the 15mm Leica/Panasonic lens.