With the advent of advanced picture-taking computers, aka digital cameras, part of the craft of photography was automated. Photography has always been a combination of craft and creativity. In the old days, the act of making and printing a well exposed photograph was more challenging. Digital has simplified this tremendously to the chagrin of old-time photographers. But how about other creative pursuits, like drawing? What if the craft of drawing can also be mostly automated?
I have little skill in drawing beyond what I did in the 3rd grade. But I recently found this fun little app that runs on the iPhone. It takes a photograph and magically transforms it into a watercolor, one of many styles, that you get to choose with a push of a finger. My apologies to true artists but for a hack like me, this tool is fantastic and amazing. In a sense, it takes the craft of drawing and automates it with a set of canned computer algorithms. Certainly rudimentary for anyone with true ability, but for me, it looks pretty damned good. I’ll be happy if I can draw like this.
So what if we automate the craft of drawing or photography with modern tools. We, as human beings, still own the creativity. Perhaps this is just the Instagraming of drawing but technology will inevitably improve. The competitive angst that photographers feel will move to other creative professions. Do you know that there are computer programs that write technical documents that are now indistinguishable from the human created documents?
As you may know, I’ve always had an interest in architecture. That interest has naturally bubbled up in my photography, something I didn’t even realize until a couple of people pointed it out. The thing is, I don’t have the ability to draw those neat looking illustrations like an architect. Perhaps I like this $1 application so much because it sort of creates instantaneous architectural renderings.
Take a look at these. I shot the originals on my iPhone at the Singapore and Dallas-Fort Worth Airports. I captured the images, post-processed them (originally for Instagram) and then used the Waterlogue app to transform them into these illustrations, all on my phone. I picked these styles because they look like architectural renderings.
Waterlogue in not limited to photos shot on the iPhone. I took these with my Fujifilm X100S at the Drink and Click event and transferred them to the iPhone. I used the app to transform these too, using a more impressionistic setting, one of a dozen available styles.
Even in my widest dreams, I know this isn’t real art. Art requires creativity and originality, not just executing an algorithm. But I find it compelling nevertheless. The illustration at the top, a watercolor conversion of a snapshot I took with my iPhone is a little memento from one my recent business trips. The comforting glow of warm light makes even a business hotel look inviting.
I can imagine, not too long ago, an artist hired for a Hilton Hotels ad by some Mad Men. The copy would read “All the comforts of home, away from home” and would feature this image. Now the entire art department fits in a pocket, technology trying to supplant craft. Until the singularity is achieved however, I feel comfortable that the real creativity and art still remains with us. If predictions hold, we can maintain human creative edge for at least 25 more years.
Several of my friends, including Kirk Tuck have posted pictures from the Graffiti wall in downtown Austin. I’ve said in the past that I’m not a fan of graffiti. I call it public defacement. Part of the negative conditioning I got growing up in New York City back in the 80’s, when the subways were filled will this “artistic” form of self-expression. But things are a bit different in Austin.
There’s sort of a sanctioned place for graffiti called the Hope Outdoor Gallery. An old, defunct condo foundation became a huge three-tiered concrete canvas. It’s actually in a nice part of town near 11th and Baylor streets.
With my new Pedometer app (Pedometer++ for the iPhone 5S, highly recommended) encouraging me to step away from the computer and start moving, I finally decided to visit the wall yesterday. I figured a photo walk through downtown was a lot more interesting and creative than circling the block in my suburban neighborhood.
I took one camera, the Fujifilm X100S, as my light weight companion. With slowish focusing but excellent color, I figured the X100S would be perfect for a non-moving wall of graffiti. I was thrilled.
I shot mostly at f8, which is rare for me. As you know, I typically shoot at night, wide-open. And while even f2 on the Fuji is quite sharp, at f8 and ISO 200, the detail and color is fantastic. The overcast day was perfect and the even light made everything pop.
The Hope Gallery is ever-changing. Layers of paint and creativity follow a cycle of destruction and renewal. Look at the video Kirk made of the place back in February. In two months, everything is different. Even the graffiti artists have succumb to the speed of this modern, technology-driven, change oriented society. Like the online world which demands a steady stream of new content, this physical wall also obliges.
The place is popular with many taking or posing for photos.
It’s hard to judge the scale of the artwork. These 3 photos are closeups. Look at the leaves for reference.
But these 3 cover an entire wall.
I saw several artists adding their mark. Christina and a friend created a multi-colored Diana Ross courtesy of a home made stencil. Another created stylized words more reminiscent of what I remember from those NYC subway trains.
People are friendly in a typically Austin fashion.
Here you can see the scale of this place. The angles and the foundation fed my predisposition for buildings and architecture. The ruin surely taps into my urban roots. These colors are something you don’t see in the U.S. It’s like looking at a Japanese game show with its unbelievable juxtaposition of color.
Make it up to the third level and you are rewarded with a commanding view of downtown Austin. The Texas State Capitol on the left along with the older high-rises makes the city look quaint. Hidden out of view to the right are the new, taller condos that appear to spout up with increasing regularity.
More views of the changing city in a future post.
Ever go to a party and you’re the only one there with a serious camera? It’s happened to me on more than one occasion and I inevitably find it a bit uncomfortable. When I leave my self-imposed bubble of photo enthusiasts, I realize that the rest of the world isn’t as interested in photography as I am. That’s not the case when I go to Drink and Click, a socially oriented photography meet up that I attend from time to time.
I’ve talked about Drink and Click before. Every two weeks or so in Austin and in many other cities around the world, photo enthusiasts get together for some social meeting, drinking and clicking. I went to one yesterday. I met so many friends. It was a blast.
Back in February, I helped arrange Olympus to have loaner OM-D E-M1s at Drink and Click. I ended up missing that one because of a last-minute business trip to Singapore. I wasn’t going to miss the Nikon demo last night, even though I wasn’t involved in the planning.
My camera choices for yesterday, the Fujifilm X100S and the Nikon 1 J1. I was tempted to play with the nice selection of Nikon DSLRs and point and shoots but ultimately decided to get some practice time with my newest camera, the X100S. I want to use it in a variety of conditions to get the feel of how it performs. Interestingly, at least 3 others also brought Fuji X100Ss so this niche camera has certainly found a home in this enthusiast crowd.
Along with the Nikon representative, Sharlie, several people from Precision Camera were on hand to help out. Nothing earth shattering, photography wise, on this post. I used the X100S to take snaps shots, and with it’s good low light performance, I was able to eek out acceptable photos in challenging light.
Rosemary and Jerry Sullivan, the owners of Precision Camera, were there to enjoy the night. I was gratified that Jerry reads my blog and he especially likes my Haiku reviews.
The outdoor patio had pockets of light but with some really dark areas. I tested the flash on the X100S for the first time. The Fuji sports what it calls the Super Intelligent Flash System where it blends a touch of flash and the ambient light. I shot the portraits of Sharlie and the Sullivans at ISO 6400 at f2. Notice that you don’t get that “blown out look with black background” that is typical of flash photography. The camera did all this, on the fly, with no special adjustments. I did tweak the color balance in post and at ISO 6400 it did an acceptable job, I think.
We met at Fado, an Irish Pub in the warehouse district in downtown Austin. I stepped inside to see what I can capture in a typically dark pub. I’m not the steadiest shooter and that’s why I like image stabilization so much. Unfortunately on the Fujifilm X100S, I have no such technology. Surprisingly though perhaps because of the lack of mirror and the smooth leaf shutter, I’m able to shoot at 1/15th of a second.
Back outside, I shot more portraits, this time without flash. I really like the natural light portrait of Juan, the founder of Drink and Click, talking to Tamra who works at Precision. As good as the Fuji’s flash blending is, off axis lighting gives a more three-dimensional look. Britney, who works at Fado, was also nice enough to pose for a portrait. And though there appears to be a lot of light, I still shot this at ISO 4000 at f2. The camera did a nice job with the available light without creating terribly harsh shadows.
Finally, here is what the patio looked like — crowded even at 9PM. There was a good turnout with lots of photographers drinking and clicking. In a scene like this, the X100S focuses at a decent speed — there is enough contrast and light even at night. The portraits in low light were a different story. To the camera’s credit, it was able to lock focus, but it was frustratingly slow. In reality focusing probably took 1 to 2 seconds, it just seemed like an eternity. In the end though, the Fuji came through and I got the shots.
Talking to another X100S owner, he really likes his camera but agreed that it takes a certain amount of patience and practice to master it.
SXSW (South by Southwest), the large multi-week Austin extravaganza, took place a couple of weeks ago and I’m just catching up. I’m back from my California trip and I primed to talk about two new cameras that I’m testing. I recently bought Fujifilm X100S for my birthday and the OM-D E-M10 is on loan from Olympus. These two cameras don’t typically compete directly against each other in the mirrorless space, their features and target audiences are different. But it’s still fun to see how they stack up in the mirrorless pecking order.
I shot these on Sunday, the day after the heavy rainstorm that dampened the Interactive portion (web and social media) of SXSW. It was also the day after I bought the X100S — I was anxious to give it a spin. The X100S has a fixed 35mm equivalent f2 lens. The Olympus OM-D E-M10 had the new 14-42mm pancake lens attached with motorized zoom. Both cameras are roughly about the same size.
I find the Olympus extremely easy to use on many levels. You may know that I’ve used Olympus cameras for many years and the interface on the OM-D E-M10 is similar, especially compared to the their higher end cameras. The E-M10 is a tad smaller than the E-M5 but I prefer the newer camera. The subtle change in grip and the placement of the play and function 1 buttons are welcome pluses for the E-M10. This smallest OM-D also closely resembles the Pen E-P5, interface wise. For a mirrorless Olympus user, the E-M10 is quickly usable without much retraining of the muscle memory. And the camera is really fast. Focusing, shooting and reviewing photos, everything snaps into place.
Ironically, it’s this familiarity with Olympus which made me hesitant to jump into the unknown that was Fujifilm. Sure. I tested X100S for several days and I certainly captured very satisfying images but still, understandably, the camera wasn’t an extension of my brain. I had to fumble with the controls. The focusing is slow and unsure compared to the Olympus.
I found that unconsciously, I gravitated toward the Olympus. It’s like taking the path of least resistance. The only mismatch I found was my choice of lens. 14-42mm (28-84mm equivalent) focal length worked great but I found the motorized zoom of the pancake lens to be slow for my fast-moving street photography style. The lens would make for a fantastic compact travel zoom and would also work great for leisurely usage. The smooth motorized zoom will also work well for video. Of course, I could have pre-set the zoom to a focal length and use it like a prime, which would speed up operations. This is where the budget kit lens has the advantage with its fast, manually adjustable zoom.
I forced myself to use the X100S. Heck I just paid $1300 for this thing, I better get good at it and get my money’s worth.
Most of the photos on this post are from the Fuji. You can hover over the photos to find out which camera I used. Despite my apprehension, once I concentrated with the X100S, I got some satisfying photos. I shoot differently with this camera. I’m more deliberate and I have to be. The focusing is adequate but not quick. I just can’t fire off shots like I do with the Olympus. But I knew this going in — I needed to be more patient with this camera. I kept the E-M10 safely tucked in my bag, zipper closed, so that I wouldn’t be tempted by the faster camera. The reality is, despite the more leisurely pace, or perhaps because of it, I got my share of keepers. The frenetic style may have advantages but you can end up with a lot of so so images. The X100S was going to counter my natural tendency and force me to slow down.
The photos on this post are about the people — the locals and visitors that I met that Sunday. I can go on about how SXSW has become too corporate with big sponsors — dominating. But I chose to ignore that in my tour through downtown. It’s easy to get jaded at these events and I do admit that SXSW is starting to resemble the Formula One Fan Fest. Just substitute tech companies for car companies. But I shot more people than buildings and logos this year. Use a smaller mirrorless camera with a fixed lens and focus on the people. That’s the benefit of these cameras, instead of using a big DSLR with a telephoto. You become part of the scene rather than spying on it.
The Olympus E-M10 is a wonderful camera, more flexible, quick and better suited for most people. So why use the Fuji? It’s a purposeful, specialized camera for serious photographers. While its deliberate pace is not quite as slow as a film Leica with manual focus, it’s closer to that in feel, I suppose — certainly more than the typical digital camera. It requires more effort but you are rewarded with higher quality images, when you get it right.
At lower ISOs, the image quality improvement is subtle and might be missed by the uninitiated. As the light levels drop and the ISOs climb, however, the Fuji does produce a different kind of image than the Olympus. I don’t always prefer the Fuji images but I found enough cases where the frustrating quirkiness of the X100S is certainly offset by the superior photos it produces.
Stay tuned. I’ll talk more about the Fujifilm image quality and how it compares to Olympus in an upcoming post.
I think us amateurs all dream of being that certain kind of photographer in some far away fantasy world. Some might think of themselves as sports photographers shooting the Olympics or Superbowl with giant white lenses. Others might see themselves being glamorous fashion photographers with gorgeous Victoria Secret models prancing in front of their cameras. For me, I most see myself being that traveler and street photographer capturing exotic destinations at the decisive moment like Henri Cartier-Bresson and more recently like Peter Turnley.
Cartier-Bresson’s camera of choice was a Leica rangefinder. A style of camera that has fallen out of fashion in a SLR dominated world. But with the change in technology DSLRs are starting to lose their grip. New compact and mirrorless cameras are now bringing small capable devices back into serious photography.
I’ve talked about the Fujifilm X100 and X100S over the years. I’ve always had a secret desire for them because they trigger that Cartier-Bresson fantasy that I have of traveling the world with that one perfect camera and lens. But for me the X100 was too frustrating. As my mirrorless Olympuses continue to speed up, I found the Fuji X100 to be a distinct step backwards in usability. The newer X100S addressed most of these concerns. It’s still not as fast as my Olympus cameras but I think, I hope, they have reached my magic threshold.
I reported in my post, The Fujifilm X100S from an Olympus micro 4/3 user perspective, small, elegant and beautiful are beginning to hold more attraction these days. That test proved that I could use the camera and get great results. I decided to buy one for my 50th birthday. A present to myself, for reaching the 1/2 century mark, which I exercised over the weekend at Precision Camera.
I have to admit that some doubt did creep in a few weeks ago. Would the X100S frustrate me with its speed? I really liked the Nikon J1 precisely because it was so fast, even faster than my Olympus. Should I look at the interchangeable Fuji’s instead? How about that new Fuji X-T1? Olympus, of course, has that wonderful and very speedy OM-D E-M1 that I reviewed last year. That would also be a fine choice.
But my fantasy of being that world traveler continued to pop into my head. I’m not going to buy a Leica. And I know the Fuji X100S is not a true rangefinder. But it was close enough for my inner dream. My justifications say that I’m going to use the heck out of this thing. And when inevitably some future technology obsoletes this camera, this beautiful faux-range finder with the two toned silver and black will take its place in the display cabinet. It will be a visual reminder of my 50th birthday.
Most everything that surrounds us these days conspires to speed up life. Perhaps this slower camera will get me to slow down and shoot more deliberately, even live more deliberately. Only time will tell but all of these thoughts are wrapped up in my elaborate fantasy narrative. Wish me luck. Follow along in the blog to see how it actually turns out.
I have two new cameras in the atmtx photography lair to report about this week. One camera is on loan and the other I bought yesterday at Precision Camera here in Austin.
My younger son is in 5th grade which means he is graduating elementary school this year. This year’s school Olympics is the last one I’ll go to. It was perfect timing for testing the new OM-D E-M10 that I have on loan from Olympus. Last year, I still had the Canon 7D for my sport/action camera. I traded that for the Canon 6D which is less ideal for action. The OM-D with it’s 8 fps burst was going to work out great.
I don’t use the Olympus 40-150mm telephoto zoom too often. I’m really not a telephoto guy — but for events like this, it’s fantastic. Mated with the small E-M10, the combo made for a surprisingly compact and very effective setup. Its power and capability hidden from view, especially to the few remaining DSLR toting parents. I admit that I had smug thoughts, which I wisely did not verbalize, about the power of my small camera system.
Consider the E-M10 and telephoto lens has a 80mm to 300mm focal length, focuses faster than an mid-range DSLR and shoots at 8 frames per second. It also has a very nice EVF (electronic view finder) that shows me real-time exposure changes. It’s a testament to how much technology has evolved, especially in the mirrorless camera space. You really don’t need to carry that heavy DSLR around these days, in most cases.
I also brought my Panasonic Leica 25mm f1.4 for the indoor shots, particularly for the gymnasium, where the kids do the high jump. After 8 years or so that I shot the jump, I’m happy to report that I finally nailed that perfect shot. I started with the Rebel XT DSLR with kit lens and evolved to the Canon 7D with fast glass but it was the mirrorless OM-D that did the best. Certainly my photography skills have progressed but it’s really the camera advances that helped out the most. You see the Panny Leica 25mm is a much sharper lens than the equivalent 50mm f1.4 Canon and here the increased depth of field of the micro 4/3 format was an advantage.
I manually focused on the rope that the kids were jumping over. With the 4/3 sensor, I still had enough depth of field that I could catch one or two frames of sharp focus at the key moment. Add the fast frame rate and you have a half decent chance of getting something good. I shot at ISO 500, f1.4 and at 1/1600 of a second. I retrospect, I probably could have lowered the shutter speed slightly and decreased the aperture to further increase the depth of field.
I’m generally not an EVF shooter but it certainly helped in the midday sun — usually my photography is exercised in darker conditions. For sports where tracking running kids are important, I think the EVF lag is still a disadvantage compared to optical view finders. They’ve come a long way and I suspect in a couple of more years it’ll be a non issue. Consider the iPhone 5S, which shoots at 10 frames per second. I detect no LCD lag when panning the
camera phone. Apple uses a really powerful processor, the A7, to do this. Camera companies will add this kind of processing power in the future too. But for now, I find that stutter in the EVF refresh makes it less desirable for tacking running athletes, even the 11-year-old kind. I still got the shots I needed through the EVF, it’s just that optical still has the edge. For most other situations, EVFs now work just as well and with some added advantages.
I will do a full review of the Olympus OM-D E-M10 but will do some mini-reports first, as it undergoes testing. Oh and the other new camera, that I bought? I’ll talk about that too, in an upcoming post. For followers of the blog, I’m sure you won’t be surprised by my choice.
I went to the Chinese New Year celebration at Chinatown Center today. It’s my 3rd year. Every year, most of the events seem similar — there’s dancing and music as the opening acts and the Dragon and Lion dances, as the highlight. But there are differences. It seems to getting bigger. We had the Austin Police Department show off their neat tank like SWAT Gear and Capitol Metro showed off their fancy MetroRapid extra long accordion buses. The event has become a community outreach opportunity I guess and a way to showcase the growing multi-cultural experience in Austin.
Photographically, I change things up too. Every year I bring a different permutation of cameras and lenses. I grabbed the Nikon J1 with kit lens and the Olympus E-PM2 with the 25mm f1.4 this year. I thought the J1 would especially be fun because of its high performance shooting. I just checked and last year, I bought three cameras, all Olympus.
The gear you bring, of course, affects what and how you shoot. I didn’t have a long telephoto with me this year so I wasn’t going to stand in the audience with everyone else. I decided to do more “back stage” candids this year. The change in perspective was worth it and I got some nice stuff behind the scenes. The Nikon J1 was working so well, I used it almost exclusively. The 27mm to 81mm equivalent kit zoom was adequate for the most part. Though in retrospect, I should have brought the 40-150 Olympus lens again, like last year. That would have perfectly complimented the J1.
Check out the child in the lower right. I love how he seems to be interested in “Miss Pacific Islands-TX”.
No need to be stealthy. Almost everyone had a camera, mostly camera phones, of course. But the photography enthusiasts were there in full force and they had their big DSLRs with long lenses. I felt extra nimble, shooting with the J1, which is not much bigger than a point and shoot but faster than a DSLR. It worked brilliantly for action and given that it was daylight, the image quality looked great.
The downside perhaps, is that the J1 has a small sensor so the depth of field (DOF) is pretty deep. You’re not going to blur out the background. But I’m trying to make stronger compositions so that I don’t rely on shallow depth of field. Have a strong enough subject and hopefully your eye will be drawn to it and not swayed by the background. I don’t aways achieve this but that’s what I’m going for.
Accept the DOF limitations and this camera can be a dream. It works so fast and tracks subjects accurately that my hit rate was really high. I also tend to shoot in bursts so that I can pick the best expression. I shot 900 frames in less than 3 hours — almost all were dead on for focus. I narrowed down my “keepers” to about 170. This also includes video snippets too which, if I’m ambitious enough, I’ll edit into a short movie. The J1 does really solid home movie style videos too. Unfortunately, I need to change a dial to go from stills to video but it works decently enough, most of the time.
I came for the Lion dance and those shots came out great. But I’m most happy with the behind the scenes photos. The dance performances were also fun. Shooting in bursts allowed me to choose my favorite poses. This is actually my second Chinese New Year celebration this year. Last week, I went to a Buddhist Temple which had its own multi-cultural extravaganza. I was going to blog about that too but my trip to California changed my plans.
Let’s see what I end up doing next year. The events may be similar but knowing me, I’ll probably have a new camera again, which I’ll want to test.
May you find peace and happiness in the year of the horse.
I went to Drink and Click again, last Thursday. I go to their events once in a while — its always a good time. For those of you who don’t remember, Drink and Click is a combination of a social get together, yes with some drinking, and photography. I’ve noticed that often the drinking and socializing tends to win out over the photography. And that’s okay with me. I shoot enough by myself, it’s always fun to get out with interesting photographers.
I had a good long talk with Kirsten, who is relatively new to photography but already has a good eye. We talked about cameras and techniques but discovered we both had an interest for design. I love talking about photography but appreciating the merits of Danish and mid-century modern furniture can be fun too.
Do you think Valentine’s Day is big for these guys?
I got here early with my Olympus E-PM2 with the 25mm f1.4 and the Nikon J1 with kit lens. It’s been years since I’ve been to this North Loop neighborhood with its cluster of modest stores except, like many parts of Austin, it’s transforming. Like often the case, new stores have opened with vibrant neon surrounded by trendy bars. I tested the J1 again. It’s not 6th street, but there’s always interesting compositions to be found at night, especially when there’s neon.
The back patio at the Workhorse Bar was really dark. It’s a modest place with not much visual interest, good thing. I couldn’t get anything with my cameras, not without flash anyway. Perhaps a f1.4 and ISO 12,800 on my Canon 6D would have worked but not with my Olympus and Nikon.
Some models stopped by and the clicking started. I strategically stole some light from a smart phone screen and a flash light to snap these photos of Beth and Robin. ISO 3200 at f1.4 at 1/15 of a second and with luck and I got some shots.
A few of us and the models headed a couple of stores down and did an impromptu shoot at a video rental store — I was amazed that these places still exist. Shooting in an unlikely setting made it all the more compelling.
I mainly shot candids. I generally enjoy catching natural gestures. Also, I admit that I’m really not any good at directing models. But unlike a studio, this was pure fun. Just interesting women surrounded by stacks of DVDs in a really relaxed social setting.
Caitlin also stopped by, she’s been to these events before. She was flamboyant and didn’t mind posing with a “Sinister” movie.
Robin was leaning against the stacks and I like the effect of the leading lines. Even on a micro 4/3 camera, a 50mm f1.4 equivalent has decently shallow DOF. I certainly preferred it over the Nikon J1 for its superior image quality and the ability to defocus the background. I called her name, catching Robin with an unguarded expression.
Finally, I took a few posed portraits of Beth. I found out she wasn’t a model but just decided to stop by with Robin. Beth is a Civil Engineering Student at the University of Texas. Go figure.
Juan, the head of Drink and Click was going strong at around 10:30pm. He was using is portable wireless soft box to do some portraits outside with Caitlin. I parted company about that time. Another fun night at Drink and Click.
By the way, Drink and Click Austin is going to have a special Olympus Night on February 20th. I helped coordinate the event and Charles from Olympus is bringing 10 OM-D E-M1s so that you can test them out. You’ll get to play with the latest and ultra popular E-M1 in a real environment, not some silly contrived setup. Come on down if you’re in the area. It should be a fun time. The venue hasn’t been finalized by it will most likely be on Rainy Street. Stop by my blog for updated details.
I had my doubts. Shooting at night with a f3.5 to f5.6 lens is not what I typically do. But that’s all I have, the kit lens on the Nikon J1. You know that I wasn’t going to be content just shooting around at Costco and in restaurants. I wanted to see what my newest camera can do.
It was Wednesday, I called Tony for a downtown photo walk. It was a good way to catch up with a friend and test out a new piece of gear. While I inevitably hit 6th street, I explored the area just south, near the convention center, first. Surface parking continues to transforms into hotels and tall buildings. It’s nice to see the city filling in.
A f3.5 – f5.6 lens is pretty slow, at least compared to what I’m used to. On the Olympus and Canon, I usually shoot with prime (non-zooming) lenses with f values from 1.4 to 2.8. Even on my point and shoots, the zoom lens starts at f1.8. To put this in context, the Nikon 1 kit lens, like most kit lenses are 2x to nearly 8x less sensitive to light. That means you have to bump up the ISO or slow down the shutter to compensate.
I did both. I reduced the shutter speed to as low as reliably possible to hand hold. Luckily the IS, image stabilization, is quite good on the lens. While I started at 1/15s, I continued to lower it and settled at 1/10 of a second. Most striking about the camera, the focus almost always locked on quickly and accurately and almost all shots were rock steady even at these slow shutter speeds. Very nice.
The area near the convention center is filling up with new hotels. I found this nice bit of neon within the new development.
The Hilton is the big hotel in the area until the 1000+ room JW Marriott is completed next year. There are plans for another 1000+ room hotel too, the Fairmont. That one’s going to be interesting, if they build it. It’s supposed to be 50+ stories tall.
The interior of the Hilton is huge by Austin standards. You can tell it is geared towards conventions.
The last stop of Austin’s train is in front of the convention center. I thought the red ceiling made the ticket booth look a little festive.
We are back to the (in)famous 6th street. Wednesday nights are still quiet.
The “Pizza Guy” in front of Roppolo’s was entertaining. It’s the first time I ever saw this costume.
Was this guy buying because of the “Pizza Guy”?
As I mentioned before, and as the Austinites know so well, there are a lot of bars on 6th Street. Most of them are right next to each other, all vying for attention. The one with the chandeliers looks almost elegant. You’ll see from the next set of images that they all look different.
I think this one is called the Library Bar, for obvious reasons. I don’t think much studying goes on there, are least studying of books anyway.
The side door of Coyote Ugly. Wait long enough and you see women dancing on the bar.
Some bars have been around for a while but many fold and reopen on a regular basis. This is one of the newer ones, I think.
Finally I headed down a side street back towards the car. I don’t even know what this place is.
Here’s the a last one, at ISO 3200. It was a bit grainy but it cleaned up nicely with some noise reduction software. As you can tell, the little Nikon J1 is surprisingly versatile with the right techniques. Of course the slow shutter speed won’t work for portraits or for stopping action — in these dark places, you need a faster lens. And that’s the weakness of the Nikon 1 system. They don’t have a good selection of lenses, yet. I like wide-angle primes and they only have a 27mm equivalent but in a relatively slow f2.8. Nikon also has a 50mm equivalent f1.8 but that’s not my favorite focal length.
Unlike the Olympus where the image stabilization is built into the body, the Nikon 1 more conventionally uses in lens IS. Unfortunately none of the prime lens have IS. For low light photography, I can potentially shoot better with the kit lens with IS rather than the f1.8 lens, at least for non-action shots. The one downside of the slow kit lens is that it doesn’t work well for video in low light, since the shutter defaults to 1/60 of second. My videos look too dim without a faster lens.
My dream lens for the Nikon 1 would be a 35mm equivalent f2, preferably with IS. I doubt they’ll make it.
Just when I thought the prices couldn’t get lower… B&H Photo has some two lens J1 kits for $249. I bought my one lens kit for $199. Incredible.
All weekend, I was having fun shooting with the Nikon J1, my latest camera. I will do more extensive tests but for now, I wanted to share my initial observations.
The J1 is not going to replace my other cameras for my “serious” photography. I got this camera for casual family snapshots and video. I carried it around, doing my weekend family errands, taking snaps at restaurants and at Costco. I shot it a lot in the house both during the day and at night. The result, it works very well but with a big caveat.
First the good. This is a damn fast camera. Focusing in good light is blazing, as fast or faster than my Olympus E-PM2. Faster than the Canon 6D. Its continuous and burst frame rate is at 5fps and 10fps, there’s even a 60fps mode. Factoring in focus speed and burst speed, it the fastest camera I currently own, all in a very small package. It’s a really great camera for capturing young hyperactive children or for action and sports.
The build quality is very good. A notch above the Olympus E-PM2 though not as robust as the high end E-P5 or E-M1. I got the silver model which looks nicer than I thought. It doesn’t have that cheap metallic paint on plastic appearance. Rather, it has a solid metal feel though from touch I can’t always tell which pieces are actually metal or plastic.
The user interface is basic, as expected. The J1 was intended to be for novices so there aren’t a lot of function buttons. The menu is the simplest I’ve seen in a while — it makes the camera really easy to understand. I can generally shoot the camera without digging into menus but when I have to, it requires several button pushes.
The video is outstanding too, from a casual home movie perspective. This is not a camera for making your indie film. But for high quality home movies, it’s great — the best I have so far. What I really like is how it steadily tracks people and doesn’t have that annoying quick in and out refocusing typical of contrast detect systems. Also, when set to the vivid mode, movies have that richness that looks less like video and more like film. It’s saturated and contrasty.
Now for the bad. The JPEG engine on this camera sucks. This is my first Nikon so I don’t know how it compares to their DSLRs. But compared to Olympus and particularly Fujifilm, you can tell that the JPEG processing is really bringing the camera down. Even compared to Canon, it seems to be lacking. I’m not talking about the color, that’s actually quite nice, certainly better than Sony. But the noise reduction is too aggressive and I get some strange blotchiness even at ISO 1600. The result, the images lack detail and JPEGs are only usable for me up to ISO 800. Perhaps for the novice, they’ll be happy with higher ISOs but for anyone with experience it’s disappointing.
However, all is not lost. Shoot in RAW, and the camera magically unlocks some special powers. The RAW images have a fine grain to them, visible at times even at ISO 800, at least through Aperture 3. The graininess gradually increases and is useable past ISO 1600 to at least ISO 2200. For some bright exposures even ISO 3200 works in a pinch. The grain is very uniform and monochromatic. It almost seems like a texture and, dare I say, film like? Somehow, I don’t mind it as much. Certainly a big improvement over JPEG. The fine grained noise is easy to remove too, with software. My current noise reduction software of choice is Topaz DeNoise.
Some of the RAW colors were pretty wonky and dull. Luckily, I was able to hone my post processing to make them as good or even better, color wise, than the JPEGs. Thus, I have no qualms about using this camera only in RAW. For some reason, there seems to be a lot of latitude in the RAW processing, more than some other camera brands. Is that possible? Either way, when shot in RAW and post processed properly, this camera transforms.
Ironically, the Fujifim cameras, the X100S that I tested as well as the XF1 that I own have fantastic JPEGs and weak RAWs. The Nikon J1 is the opposite. It’s unfortunate since the novices that this camera targets won’t have the RAW post processing skills.
Try to ignore my culinary selections from last weekend. At least I ate a lot of salad at the pizza buffet place. And on Sunday, to balance out the carbs from the pizza, I had a very low carb lettuce wrapped double cheese burger. That’s my new favorite at P Terry’s, a local fast food chain that has a similar menu to In-n-Out burger.
As an aside, I’m wondering how P Terry’s will do now that In-n-Out Burger has setup shop in Austin? You can tell from the photos below that P Terry’s is stylish, architecturally, compared to the average fast food place.
Bottom line, how does this camera fit into my collection? It’s not going to be daily my carry around camera, it’s too bulky for that. My Fujifim XF1 still retains that role. The image quality certainly doesn’t match the Olympus E-PM2 and of course the Canon 6D. Those two are my serious cameras. I suspect the Nikon J1 will see the most action around my family. If, like a normal person, I wanted to carry one small camera to Disney World, this might be it. Make quick snaps and great HD home video.
However, being an enthusiast, I will certainly push the camera to see what it can do. I’ll try using it at night for my urban photography. I’ll let you know how that turns out.
Just when I thought the prices couldn’t get lower… B&H Photo has some two lens J1 kits for $249. I bought my one lens kit for $199. Incredible.
A month ago I was down on 6th street on a foggy and drizzly night. I made a photograph that I really liked — a street scene with the wet cobblestones, colorful bars and the glistening Frost Tower in the background. While I shoot often here, the weather added another dimension. I vowed to make more of these kinds of photographs.
Recently, everything aligned perfectly for another chance. It was a night with an occasional light drizzle. It was a Wednesday so the crowds were sparse and I even had free parking downtown after 6pm. I quickly got down there with my usual lightweight HDR setup, an Olympus E-PM2 with a 14mm f2.5 lens and a light tripod.
Regular visitors probably know that I like HDR but tend to process on the light side, opting generally for a realistic look. I like to add a bit of an edge and a boost of color, for some excitement. The neon, grit and the shine off the wet streets allowed me to amp it up more than usual. I wanted a colorful, saturated and glossy feel to the photos. The kind of images that fit the famous party like atmosphere of this place.
The most visually exciting part of 6th street is confined to a 4 block area. Continue eastward and things get darker, the buildings more modest. What stands out for me is how densely packed the area is. Bar after bar shouts in some way to entice customers. The lights, colors, flags and neon all attempt to stake out space. The visual presence is a requirement to stay in business and capturing this cacophony photographically, all the more fun.
Strip away all this bling and you’re left with standard late 19th century Texas architecture. Some of the buildings are more ornate than their small town cousins. But the buildings’ DNA is recognizable now, especially since I started visiting the surrounding communities. The big difference is that Austin is thriving while many of the nearby small towns only eke by.
Visit here on a Friday or Saturday and it’s wall to wall people. The visual queues no longer enough, these places resort to live music and calls for $1 well drinks to pull in customers. Some Austinites call this street “Dirty 6th”. I call it a photographic bonanza. It’s worth braving the young and drunken bravado or the calls for donations from the down and out. On this quiet Wednesday, about the only annoyance was occasionally wiping the mist off the front lens element. It was a good night for photography.
On our local Facebook photographer’s group, we each posted our single favorite photograph from 2013. I posted this one.
I take a lot of photos every year and perhaps there may be a better one, at least technically. However, this one resonates with me. At first when I created it, I was unsure — there was a lot of motion blur. But I realized that it captures a certain mood on 6th Street. The wild, colorful and exciting bar scene in Austin’s most famous entertainment district comes alive.
The photograph is more colorful and vivid than in real life. But more and more, my photography is less about real life and more about the mood I want to express. This is how my photography is evolving or at least the path I want to take.
After all, I’m not documenting products for marketing brochures — accurate color and lighting is less important. I remember when I got into photography or even when I started HDR. Trying to capture, what I believed, what my eyes saw was of the utmost importance. Over the years, I’ve come to realize that this is a foolish goal. Photography is not reality. It’s an interpretation. A point of view. There is no right or wrong in Art.
So I picked this photo for the mood I want to express. It’s an attempt to move beyond the plumbing and mechanics of photography. Capturing that technically perfect image, no longer the goal. The feeling of a picture, while harder to define and highly personal, is what I’m after. It’s something that I’m working on in 2014.
I went to Zilker Botanical Garden with my Dad, who was visiting during the holiday break. My dad is an avid photographer and he is stepping up into a mirrorless camera from his point and shoot. Since he likes flowers, we went to the garden but that was a bust. Even in relatively mild Austin, there were no flowers to be had in January.
We shot anyway just for the practice. Except I’m not much of a landscape photographer, at least here in Austin. I realized that it takes a different skill to eliminate the clutter which comes with the natural growth. Using a wide-angle lens also complicates things. I pickup too many leaves and undergrowth that distracts.
As you know, I love shooting cities and architecture. That’s what comes naturally. So even though I’m in a botanical garden, my strongest image was of a building. Go figure. This is a Swedish Log Cabin built by Austin area settlers around 1838. It was part of a small exhibit featuring local history.
Perhaps I’ll give another try when more things are in bloom.
I can’t think of a better place to ring in the New Year. I’m talking about Times Square of course. This is where they drop the famous crystal ball in New York City. I took these photos a year ago when, you might recall, I went to the east coast on a winter vacation.
This may be the ultimate spot for a night-time urban photographer like me, at least in the United States. Practically every surface is glowing, animated or blaring an announcement.
Take a look at the first photo. See the Toshiba sign at the top of the center building? Do you see the small glowing 2013? You can click on the photo to see a larger version. In less that 10 hours, 100s of thousands of people will be staring at an animated ball that magically increments this number to 2014.
I started my tour around 47th Street, looking north.
I walked south and snapped different angles of the famous Time Square landmark on 43rd Street. I used the Olympus E-PM2 with the Panasonic 14mm lens plus wide-angle adapter. It gave me a 22mm equivalent view.
Over the years, I’ve heard a lot about El Azteca Restaurant on the east side of town, I finally went there last Thursday. I had a nice relaxing lunch with my friend, photographer and uber blogger, Kirk Tuck. We talked about a range of topics and of course about the latest in camera gear, all surrounded by the cacophony of color and kitsch.
El Azteca is the kind of place you won’t see in the typical homogenous American suburb. The interior is too random and unplanned that the most creative designer of chain restaurants would have a brain meltdown. This ain’t no Chilis. It’s nice to see places like this still around in Austin.
It’s hard to imagine a combination of a JFK tapestry, a neon beer sign and two goat heads. But there it is.
Neon, dim interiors and color are certainly up my photographic alley. My Fuji XF1 point and shoot captured the colors well.
I was more adventurous than normal and decided to get Cabrito, roasted goat kid, for the first time. Honestly, I can’t say I liked it but I’m glad I tried something new.
This place is also famous for its Mayan (or is it Aztec?) warriors and goddesses. They adorn the walls and their calendars. I heard that their artwork has been toned down somewhat from the past. I didn’t get a calendar. Somehow, I don’t think it would work with my usual, minimal decor.
Kirk had his, crazy in its own way, Marc Newson designed Pentax K-01 with him. I wonder if, in Mr. Newson’s wildest design dreams, he can imagine a restaurant like this. The K-01 is certainly unique, I shot a few frames to see if this Lego like camera worked. It has a playful feel like El Azteca.
After an hour and half of banter, we agreed on a couple of things. That 2014 is going to be interesting camera wise and that the Sony A7r’s shutter is too damn loud.
I went to a holiday party last week. I got to wear my suit, which I do maybe once a year, which is alright by me. While my 10+ year-old formal garb still fits, the waist was snug enough that I won’t be eating any steak dinners. The inner jacket pocket was perfect though for carrying around the Fuji XF1 that I’ve toted around lately. While not truly pants pocket-sized, it works well with jackets.
I’ve waited for technology to improve so that I can have a small carry around camera that works in almost any situation. And while any camera, even smart phones, work well in bright light, low-light interior shots have certainly been out of reach — at least at a level of quality that matches my expectations. I use a 27″ monitor and I want relatively noise free, detailed images, full screen.
Back in 2006, when I got my first DSLR, the then outstanding Canon Rebel XT was fairly noisy at ISO 1600. I remember I had to run special noise reduction software to remove the chroma splotches. I just had a kit lens that started at a modest f3.5 and with no image stabilization and with the mirror recoil, 1/30 of a second was iffy.
In 7 years, we now have $200 cameras with modest sensors that have f1.8 lenses with image stabilization. ISO 1600 is on the borderline but in some ways, better than that old Rebel XT. I’m satisfied with these party pics in a dark hotel. Isn’t technology wonderful? I’m certainly not one of those nostalgic film people.
Snapshots of my friends, especially with Fuji’s Super Intelligent Flash System, came out good for the most part. One downside is that the Fuji defaults to a slow shutter speed in these dark scenes. 1/15 of a second is common. And with image stabilization, my shots usually come out good enough, but not always. Letting others use the camera becomes tenuous. They need to be steady or mostly sober. In retrospect, I probably should have gone to shutter priority and dialed in a 1/30s or 1/60s shutter speed.
Focusing in dark areas gets slower but still does better than the Fuji X100S. All in all, it’s a close to perfect camera for these party situations. Maybe someday, with on board sensor based phase detection, these little point and shoots will have the assured snap focusing of a DSLR. You know there is always room for improvement. But at the rate these technologies advance, I’m excited to see what cameras will do in 2020.
It’s become a tradition of sorts to shoot the Christmas Tree at the Driskill Hotel. This is the 5th year I’ve done this. Every year, I tend to shoot it from about the same place. I get subtle variations since the shape of the tree changes and my post processing has also changed. But I didn’t shoot close enough to get the details. The decorations that change every year tend to blend into a colorful texture.
This year, I decided to get closer and do multiple angles. While the cameras have changed, the technique remain the same. I shoot on tripod and with 3 exposures so that I have the option of doing HDRs. Despite the years of doing this, there are still two challenges.
First, I find it difficult to center my subject in the middle. Even with a level, which the Olympus E-PM2 does not actually have, getting the plane of the camera parallel to the subject is my biggest pain. I’m not going for perfection so I just eyeballed it. You think after all of these years, this would be easy.
The second challenge is to have patience. The Driskill is Austin’s grand old hotel and there are many tourists that pass through. Creating a photograph without people takes a lot of time and some luck. Of course the easiest way is to probably go there around 3am when nobody is around. I met my friend Mike at 9pm, which was way too early. There was a steady stream of people posing and taking pictures in front of the tree.
People would typically take their photo and proceed to have a 5 minute conversation within my field of view. Of course, I didn’t want to ruin their special holiday moment so I don’t say anything and patiently wait for a chance for 3 clean exposures. I was lucky. I got a few quick breaks that allowed me to get my shots. Mike, on the other hand, probably waited nearly 30 minutes. By 10pm, it was a lot more quiet. Note to self, go there much later next year.
Finally, for something completely different, here is a lightly toned black and white. I purposely included a couple that was admiring the tree.
I hope you have a Merry Christmas and a joyous holiday season.
Recently, Precision Camera had a demo day for the Sony A7 and A7r, the new compact full frame mirrorless cameras. Sony went all out and brought an elaborate set where people can test. They also had an interesting yet slightly goofy contest where the best photo from this artificial setup gets to win a cruise to Alaska. It smacks of some hokey idea that some marketing person thought up. I prefer to take the camera out in the real world and shoot what I like. Night street photography on 6th Street anyone?
Just a day before I played with the new Sony, I shot the Fujifilm X100S for 4 days in California. Using these cameras back to back made for an interesting comparison. I opted to use the 35mm f2.8 Zeiss on both the Sony A7 and A7r which matched Fuji’s focal length.
So what did I think? I had a distinct meh feeling. Nice body, looks better in person than in the photos. At least it didn’t have that design by committee ugly Nikon Df look. OK, I know I’m digressing here but can you believe that Nikon thing? Let’s take all the digital parts, keep them and slap on the manual film controls. To me it looks like a Franken-camera. It might take spectacular photos and it has the very nice D4 sensor but man does it look perverted. The proportions of that thing are all wrong. It has none of the elegance of the retro inspired Fuji Cameras.
Anyway, back to the Sony. The first niggle. The shutter is too damn loud. The A7r is louder with a clunk – clunk sound. I asked the Sony guy if the camera was working properly — I thought it was broken. The A7 is a bit quieter. This certainly ain’t the Olympus E-M5 or the E-M1 which has an absolutely wonderful shutter sound — my favorites to date. The Fuji X100S shutter is perfectly silent. Fantastic for street photography. Yes, but the Sony is full frame, it should be louder, you say. Well my Canon 6D, which is a traditional DSLR with a flipping mirror has a quieter and more pleasant-sounding shutter.
The A7r had a nice body. The ergonomics seemed good. The A7 has the same design except that a portion of the camera is made of plastic. Too bad. I prefer the A7 but the plastic build was disappointing. It wasn’t cheap but it didn’t have the premium feel of the A7r or the Fuji X100S, which is less expensive. Did Sony opt for a plastic body to add more differentiation between the two models? I do like that both bodies are weather sealed.
Happily Sony has ditched the less desirable NEX interface and gone Alpha. Much better and understandable. There are 3 adjustable dials on the camera plus a dedicated exposure compensation dial. The dials and function buttons are configurable. It should make for a very nice shooter’s camera.
One thing I know I can’t reprogram is the play back settings (I asked the Sony rep about this). All 3 dials do the same thing, they take you from picture to picture in preview mode. How dumb is that? There is one small button that you need to press multiple times to zoom in to check focus. I would think it’s natural to use at least one of the dials and spin it to allow you to zoom in quickly. On the Fuji X100S, for example, one button press and it automatically zooms to 100% at the focus point. Much better. I sometimes wonder if Sony gets real photographers to test these things before they go into production.
I shot all photos in JPEG — the camera is too new for a RAW converter. The details are beautiful, better than any camera I’ve used (They are equivalent to the Nikon D800 and D610 full frame cameras). Accurate focus is critical since the high-resolution files are less forgiving. Too bad it’s a pain to check focus.
Update: A reader who bought an A7 reports that there is a way to configure the dial zoom in to preview images. See in the comments section below. My original comment was based on what the Sony rep told me and by trying to look through preferences.
You know I’ve been critical of Sony’s colors. My beef with the Sony NEX 5 was the skin tones, especially of my kids. They seems too green for my taste. That’s one of the main reasons I switched to Olympus, by the way. I know Sony has been improving/changing their colors since that first NEX cameras several years ago. So how did the A7r do? You be the judge. The image at the top was shot on the A7r. The one below was shot with my Fuji XF1 point and shoot.
I took both photos with auto white balance. To my eyes, the Fuji is a bit more red which give more of a pinkish skin tone. The Sony still looks a bit more blue-green to me. I’m not saying that the Fuji is more accurate but I do prefer Fuji’s color. The colors can certainly be tweaked in post so ultimately it might not be a big issue. Except, at least on my NEX 5, even shot in RAW, I found it a pain to get the colors the way I liked them. I’m hoping this is not the case with the A7.
Here is a comparison between the Canon 5D Mark III, A Leica M and a Sony A7 by Ken Rockwell. Looks like Ken didn’t get very good colors from his Sony either.
I also find that the Sonys tend to underexpose more than I like. In the shot above, I added +2/3 of a stop of exposure compensation. The Fuji was shot straight with no exposure changes.
From what I see on the web, high ISO performance should be excellent. How would it compare against the X100S for my favorite low light urban photography? The X100S does clean files to ISO 6400. Since the X100S lens is one stop faster, the Sony would have to do an equally clean ISO 12,800 to keep up. The jury is still out on this one. Is the Sony full frame sensor good enough at ISO 12,800?
Here’s the crazy thing. When I was skimming through the photos in Aperture 3 at full screen (not 100%) on my 27″ monitor, I had to do a double take to tell the difference between the Sony A7r and my Fujifilm XF1. I noticed Sony’s shallower DOF but I didn’t see the difference in the details. What stood out more was the differences in color. Sure, zoom in and in particular at 100%, the Sony absolutely demolishes the XF1. No question. But unless you plan to print really large or love pixel peeping, that wonderful 24MP or 36MP sensor may not mean as much as you think. Under tougher lighting conditions, the Sony is also going to excel. But the web is a big equalizer especially under more favorable lighting conditions.
In many ways, this little nature demo setup was unfortunate. The bright LED lighting is not going to challenge cameras. You’re not going to test the dynamic range for example. How about some vivid colors to show off the color bit depth? Dark cave like areas to test the great low light capability? Look, I know this Sony is capable of spectacular results. Of course I know that a point and shoot is not going to have better image quality. But you need the proper environment to put the camera through its paces.
These Sonys are getting a lot of buzz on the net. Particularly from people who want to use their legacy lenses, like the really nice Leica ones. They also drool at the prospect of a highly rated (by DXO) 36MP sensor. No doubt these Sonys will make excellent compact landscape cameras. They would be fun to play with despite my quibbles. And I do admit, I am intrigued by its large color depths and dynamic range. But what if you don’t have lenses from other companies to use? It’ll be a while until Sony builds up an arsenal of full frame E mount lens. Perhaps I’ll be more interested if I didn’t already own my full frame Canon 6D?
So there you have it. My very quick impression of Sony’s flagship mirrorless cameras. They seem like very solid cameras with beautifully detailed files. They felt good in hand but was a bit too large for me — I prefer smaller mirrorless cameras. I’ll stick with the Olympus and possibly look at the Fuji for mirrorless. The Sony A7 is double the price of the X100S but in my book, it’s not double as good.
By the way, here is another image I shot with the Fuji XF1 point and shoot. I used the built in flash and did the automatic ambient light flash blending that I love on the Fuji. Not bad at all for a point and shoot, which you can get for a bargain price of $200, less than 10% the cost of the Sony. Yeah, I know but if you pixel peep at 100%, it ain’t going to be as good. But do you even print your photographs? If so, how large? Unless you print large or want to crop a lot, all those extra megapixels are just sucking up hard drive space.
One more bonus image, my favorite of the day. It shot it again with the Fuji when the Sony set was being taken down for its road trip to the next camera store. The guy on the left is Jerry Sullivan, the owner of Precision Camera. He was lending a helping hand when a particularly stubborn set piece would not get unstuck.
Precision Camera had their pre holiday Expo this weekend. Camera vendors from the big cities of Houston and Dallas came to Austin and showed off their wares. Ironically, Austin, still a medium size city, has Precision Camera which is the largest camera store in Texas. I met Charles from Olympus, who’s been nice enough to lend me some pre production cameras. Unlike some sales/technical representatives who are just sales people, Charles is an actual photographer. We decided go down to 6th Street for a photo walk and to enjoy the night life.
The rain stopped just in time and we had wonderfully wet and reflective streets, just as I hoped. I had my usual HDR setup — my Olympus E-PM2 with the Panasonic 14mm plus wide-angle adapter. This is my preferred lightweight setup and I would argue it may be the best way to take HDRs in low-light conditions, better in may ways that the Canon 6D. I’ll tell you why in a future post.
I also brought my Fujifilm XF1. I often shoot with two small cameras and I’m still in my discovery mode with my latest acquisition. You know that I like Olympus and I consider it my main camera but there are things that Fuji does better than Olympus. And I was very honest with Charles too. I wanted him to let the Olympus engineers over in Japan know how to improve their camera.
I talked about Fuji’s Super Intelligent Flash on my post The Fujifilm X100S from an Olympus micro 4/3 user perspective. The XF1 point and shoot has this feature too. The camera has an amazing ability to add just a touch of flash and blend it nicely with the ambient light. Here are some examples I shot on Friday with the XF1.
The first two photos are straight out of the camera JPEGs in Velvia mode, unprocessed. Notice the wonderful bar colors at Bourbon Girl but the portrait of Kasie is a bit dull. This is typical of ambient light portraits in places like this. The second photo is a flash shot with the Fuji. Notice how beautifully Kasie is lit while still preserving the background color. The Fuji does this automatically, without futzing with settings. Obviously, these are not serious portraits. They are just snap shots but the kind that I like to make of my family when we are in dark restaurants.
This third image was slightly post processed and is my final look.
This group portrait came out great too, again with the fill flash. Though the Fujifilm XF1 is just a point and shoot, it actually does a better job than my Olympus E-PM2 without the flash. The Olympus has a bigger sensor but a good flash can really help in these cases. The Olympus flash does an adequate by conventional job. Yes, it’s possible to play with the settings, set slow-sync or lower flash power but the Fuji is a lot easier since it does this automatically. By the way, Fuji’s big boy cameras like the X100S and the X-E2 also has this flash feature too.
Here’s one more Fuji fill flash example — It’s not just for portraits. Apparently, Austin had their Red Dress Run, and the bar quickly filled with all these characters. I popped up the flash, underexposed the scene by -1 2/3 stops and took the shot. Underexposing allowed me to maintain the colors in the neon and the fill flash lit the foreground. The light blended beautifully.
The XF1 is after all, just a point and shoot but pretty damned good for such a small camera. Of course, the Olympus E-PM2 does high ISO much better. I shot this wide-angle below at a very clean ISO 1600, hand-held with the E-PM2.
Back outside, I shot with the Olympus on tripod. This is where the E-PM2 excels and why I love the camera so much. I created the HDRs with 3 photos 2 stops apart. The wet streets were fantastic. Look at those lovely cobblestones in the first image, up top.
The neon red from the Iron Cactus sign also looks great off the sidewalk. 6th street was looking festive before the holidays.
Finally, we ended up in a Steampunk influenced Heavy Metal Bar on Red River, just off 6th Street. The interior at Metal and Lace was dark but I loved the colors. I created this HDR which turned out to have the right amount of motion blur. I think it nicely captures the feel of the place.
The night out with Charles was fun. He very patiently listened to what I like and dislike about both cameras. I mentioned Fuji’s strengths to hopefully get Olympus to add these features. Every camera has its pluses and minuses and the advantage of using many brands is that you discover these things. It allows me to have a balanced view.
I attended a talk tonight by 3 famous Magnum photographers. I decided to summarize my experience with my first ever attempt at Haiku.
Old Magnum photogs
Fear the future and smart phones
I was on a boat last night on Lady Bird Lake.
It’s not actually a lake, it’s a river that is dammed up that flows through downtown Austin. Because everything for me is a PhotoOp, I brought a camera. Except I didn’t want to look like a total camera dork so I used my new Fujifim XF1 point and shoot. Just one camera, believe it or not. No big DSLR or even a reasonably sized mirrorless.
My main purpose was to take snap shots of my wife and maybe get someone to take a rare photo of my wife and I, together. But of course, the lure of night images and reflecting urban lights was more than I could bear. I had to take cityscape photos like everyone else.
Except everyone else used iPhones. A few actually had real point and shoots. Beyond the stylish looks of the XF1, I had some technology that no one else possessed, a bigger sensor and some trick photography modes hidden away in the retro design. The results I got were surprising.
Before we left dock, I coaxed the Fuji to shoot at ISO 400 and at 1/2 second. The results were quite spectacular as you can see above. Hard to believe this is a point and shoot. The Fuji does some special dynamic range expansion tricks in-camera. I used JPEG for everything and did some light post processing in Aperture 3.
Once we left downtown and headed east, it got dark quickly. ISO 800 was short-lived and I needed ISO 1600 or higher. I switched to in-camera black and white which handles the noise better. Even with a slightly larger 2/3 sensor, ISO 800 is my preferred top end. ISO 1600 works at times, in a pinch.
Shooting from the river gave a vantage point that I’ve never seen.
Photos around the Interstate 35 bridge were the most interesting. The XF1 has a special EXR mode that combines multiple images together to help reduce the noise or increase dynamic range. What resulted was artistic and minimal images. Low fidelity yet surprisingly satisfying.
Even the occasional ISO 3200 was acceptable in a grainy, Lomography kind of way. I’m trying to break out of my strictly low noise, high quality photography. These images are more about mood than anything else.
The boat cruise lasted 2 hours. We sailed east just past I35. Then we went west past the Lamar Street Bridge and docked back next to the 1st street bridge. It was a fun event with drinking, BBQ and some uncharacteristically different point and shoot photographs. I’m not going to give up my regular style but pushing the boundaries of a tool to see what happens is kind of interesting. Heck, if it’s fuzzy and grainy enough, maybe I’ll just call it art.
Note: I noticed that the Black or Red Fuji XF1 is still on sale at Amazon for an amazing $199. I couldn’t resist. I bought another one, black this time. I’m giving it as a gift. I think it’s an excellent point and shoot.
Austin hosted its second annual Formula 1 race this past weekend. I didn’t attend the race itself, but I went downtown to capture scenes from the Austin Fan Festival. Like last year, a section of downtown was blocked off for exhibits, concerts, food and anything else that would vaguely fit into the racing theme. It was a fun time, and for me, another chance to do some street photography which I probably find more interesting than shooting cars going around a track. Plus it was free. Better than spending hundreds of bucks on racing tickets. That’s a good thing since I can save my money and, what else, buy more gear.
Speaking of gear, I mentioned last week that I’m testing two new cameras. I’m still playing with the pre production camera that is on loan to me, but in the mean time, I wanted to talk about the new camera that I just bought, the Fuji XF1. Heck, even its name is perfect for F1 weekend. I went to Fan Fest last year where I shot with my Olympus E-P3. I went even smaller and lighter this year with Fuji’s smallest X branded point and shoot. I’ll do a full review of the XF1 and tell you what makes this guy unique in a future post. For now, lets just say that I’m very happy with the images I got with this point and shoot, even at night. Take a look at the photos and tell me what you think.
I was already downtown on Friday for a party and decided to check out Fan Fest. I snapped an image of a couple of women at the Red Bull – Infiniti display. This simple snapshot actually showcases one of my favorite features of this XF1. It’s something that reviewers rarely talk about. Just as a teaser, I’ll say that it blows away what my other “high end” point and shoot, the Canon G15, can do.
The highlight of the evening was the free concert by Foreigner. The lead singer was still going strong from this 80′s era British-American Rock Band. The photo at the very top was from the concert as well as these two images. The black and white was done in camera and tweaked in post. In fact, I shot all photographs in JPEG and I did minor tweaks with Aperture 3 afterwards.
Fan Fest did an admirable job by including everyone, especially kids. There were simulators and video games and slot car races. This is the closest I got to any kind of race track that weekend.
As expected, there were many fast cars on display.
Talks by actual F1 drivers. Here’s David Coulthard at the AT&T pavilion.
Certainly, there were numerous products being promoted with attractive spokes people.
Infiniti and Ford had displays. I like the style of the current Ford Fusion with its Aston Martin-esque grill. The red model looked nice under the colorful lights.
Austin seems to be in the midst of another building boom. I’m seeing a lot of cranes again.
There were loads of food and alcohol for sale with “slightly” inflated prices. I enjoyed the Chicken on a Stick grilling performance.
This is Austin after all so we had plenty of music. Red Bull had an upbeat club mix going all night, undoubtedly to make our European visitors feel welcome.
We also had street musicians with a more local Tejano feel.
Finally, there were several stages with live concerts. These guys were not as popular as Foreigner but they were great and I could get up close to the stage.
I had a fun night of photography and Fan Fest gave me something different to shoot. The Fujifilm XF1, for the most part, did an admirable job. I’ll talk more about it in upcoming posts.
I recently posted some Halloween portraits from 6th street that people seem to like. I could have gone with my conventional available light images that I usually take down on 6th street — the Canon 6D at high ISO does a surprisingly good job in low light. Available light shots, however, have a moody but soft look to them. Great for shallow depth of field street photography and romantic wedding photos, but I wanted to do something different. I wanted more of a crisp, dynamic look, different from my regular stuff.
I’ve included several new portraits on this post and you can click here to see the rest of them. As promised, here is the way I created these Halloween portraits.
Taking the Picture
Direct flash gets a bad rap but it can be neat when done in the right way. And you don’t necessary need a soft box or umbrella either, especially if you want that crisp look. The trick is to get the light source off axis, meaning you shouldn’t have the flash on top of your camera. This tends to flatten out features and you lose that three-dimensional look.
Your primary light source is no longer going to be the flash on your camera. There are several ways to do off camera flash. First, you need to use a camera with a hot shoe. You also need an external flash that can be triggered wirelessly or connected via a sync cord. Some camera companies have wireless flash triggering features built into their nicer cameras and flashes. You can certainly use this to get TTL metering which dynamically adjusts to the light conditions. These systems are proprietary so a Nikon wireless system will not work with Canon flashes, for example.
I went for the cheaper and more primitive manual route. While you don’t get the fancy TTL metering, manual flash exposure works great when the environment does not change. Since I was shooting at night, this worked great. The benefits of manual flash is that I can use inexpensive flashes and triggers and arguably get more consistent exposures if you do it right. It’s also manufacturer independent, so I can use the same triggering system on any camera that has a hot shoe.
I used the same inexpensive but reliable Cactus V5 triggers that I used for the Haunted House Photo Booth. My flash is a no frills house brand called Quantaray that was sold by the now out of business Ritz Camera. Any flash capable of manual mode should do, even older models. A nice unit that has is popular with the Strobist community is the LumoPro LP180. I have not used this model but it has even more features than my flash. I dialed down my flash to 1/64 power. After a couple of minutes of testing, I settled on ISO 250, 1/160 second shutter and around f3.2 to f4 in manual exposure mode. I also preset manual focus to several feet out. I held the flash in my left hand and shot with my right. If my camera has located in the center of the clock, the flash was held over my head at around the 10 o’clock position and angled towards my subjects which were about 3 – 5 feet away.
Camera wise, I used the Olympus E-PM2. I thought about using the Canon 6D but there were several advantages to using the E-PM2. First, I wanted a wide-angle view since I knew I would need to include groups of people. The only wide-angle I had on the Canon was the 24-105mm zoom, which combined with the 6D will be heavy to hold one handed. On the Olympus, I used my Lumix 14mm f2.5 (28mm equivalent) pancake lens which made for an incredibility light-weight setup, perfect for one handed operation all night. I could have also used the standard 14-42mm Olympus kit lens, which isn’t much heavier.
At ISO 250, image quality was not a factor. But the smaller sensor on the Olympus has an advantage since it has more depth of field. I could shoot at a f3.2 to f4 range and get the entire group in focus. On the 6D, I would need to go at least to f8. Finally, I also was wary of bringing expensive equipment. I heard that 6th Street on Halloween was crowded and a bit crazy. I felt more comfortable using smaller and less expensive gear.
A couple of people commented how nicely the flash had blacked out the background. Well, in fact, shooting in this way does have the advantage of dropping out the ambient light. But it doesn’t always work perfectly and I resorted to a bit of artistic trickery to get the effect that I wanted. Yes, I did some post processing to mask my subjects from the background. Before I go into that, let me explain the shooting environment.
You have to understand that 6th Street was very crowded with wall to wall people. If I were able to direct people to an open area, then this technique would have worked much better, in camera. Or conversely, If I had set up a dark background, that would have been great too. Instead, I asked people for portraits as I walked down the street. I spent perhaps 10 -15 seconds per person and I didn’t have the luxury or desire to move and optimally position my subjects.
If lucky, I got a break from the crowds and I got a fairly clean shot like the vampire couple on the left. However, most of the time, it was more like the situation on the right. Masking and adding a black background was relatively easy — a different color would be a more difficult. I think that the post processing adds a level of simplicity that give sort of a studio feel to these street portraits.
There are many ways to mask away the background but I wanted to experiment with some new software. Topaz Labs makes ReMask which I’ve always wanted to test. It worked great. With some practice, I was able to do some fairly complex masking, certainly better than what I can do with Photoshop. Take a look at the example below. Masking hair can get tricky and her head dress made it even more challenging. You can tell ReMask did a great job with the subtle details.
How easy is ReMask? Well here is a Youtube video of how it works. I never even read the manual. All I did was look at this video and practiced a bit.
So there you have it. This is how I did those Halloween portraits. It was nice to break out of the usual mold and do something different. Perhaps I’ll use the technique again. Thanks for stopping by, I hope you found this informative and interesting.
For the last several years, I’ve meant to go down to 6th Street on Halloween night. This year I finally made it.
6th Street, Austin’s most famous entertainment district, is busy on regular evenings, particularly on the weekend. Halloween, as you can imagine, was off the charts. It’s the most crowded I’ve ever seen it. I was there from 9pm – 11pm yesterday and it was already wall to wall. As I was leaving, droves of people were converging from other parts of the city.
I wanted to create street portraits, particularly of the more interesting costumes. I also wanted to do it in a different way. I’m really happy with the results. It’s a look that I’ve never done before.
I’ll talk about how I created these in a future post. But for today, I just wanted to showcase a dozen images. I will say that I used my Olympus E-PM2 with the Panasonic 14mm f2.5 lens. As usual, hover over the images with a mouse to see the EXIF details. Then click on the photographs to see a larger version.
Now sit back-end enjoy the Halloween, 6th street style.