Become the Master of your craft….


Pelican Dock - Type 55 4x5 Film, Wet Scan

Pelican Dock – Type 55 4×5 Film, Wet Scan

 

This is the Pelican Dock on Pawleys Island, SC. It is a 4″ x 5″ FILM image taken  on Polaroid Type 55 film from one of my film workshops.

Polaroid 900 w/ 150mm Fujinon lens converted to 4x5 by Steven Icanberry.

Polaroid 900 w/ 150mm Fujinon lens converted to 4×5 by Steven Icanberry.

I did this with a Polaroid 900 converted to 4×5 format camera and the film was expired (16 years) Type 55 instant 4×5 film that also creates a fragile negative which was scanned Wet Mount on an Epson 850 . This single image costs about $35 to create and process!

But look closely at the image, notice the calm peace of the scene, the amazing clarity and sharpness that is a gift when working with large format film, but more importantly, the edge process markings created when working with this amazing film!

But of greater importance than how I created this image is the why

We all see amazing scenes as we travel through life, but how many of us actually take the time to really experience and feel on an emotional level what we are actually experiencing as we create our art? I watch so many great photographers skitter from scene to scene like a bee to pollen that it leaves me feeling sad.

Let me ask you, “How can you create art that will appeal to your viewers on an emotional level if you yourself refuse to slow down long enough to feel the emotional impact yourself as you create it?

The key here is to stand before the scene and take it all I. Get a feel for what you desire to share with your viewers before you even pick up your camera! SLOW DOWN, take your time, investigate it from many angles and exposures. Yes this is a single image, in fact the only one I took due to the cost, but I spent a half hour studying the scene, moving around looking for the best impact and knowing that I would get the edge markings and using them to increase overall impact!

This is a hard lesson to learn and harder still to practice. This is one of the the lessons forced upon us who still shoot film as I do. After all, Film = $. We have to slow down and make every shot count so the next logical step is to connect on an emotional level with your subject and thus create art that is charged with mood that will draw your viewer in.

Just because I use FILM as an example here for you do not think that it does not apply to digital!  Yes, once you pay back the investment of your digital equipment with image sales (you do sell your work don’t you?) the cost per image is basically paid only in terms of your time.   But time also has a value and if by slowing down and imparting emotional impact in your image then you will be on the true path of photographic nirvana!

Take your time, explore your scene, feel it’s emotional impact, SLOW Down!

Do not copy the Bee, rather strive to be a master of photography…

Using M mount glass on the Sony A7rii camera


The AMAZING just got better….

Stormy Seas with the Voigtlander 12mm Ultra Wide Heliar M Mount Lens and the Techart Auto Focus Leica to Sony adapter

Stormy Seas with the Voigtlander 12mm Ultra Wide Heliar M Mount Lens and the Techart Auto Focus Leica to Sony adapter

Look closely at the image above.  It was taken with a Voigtlander M mount 12mm Ultra Wide Heliar lens and the Techart M to FE AUTOFOCUS adapter on a Sony A7rii camera. The cleat on the bottom right is about 6 inches from the front of the lens!  The color rendering is amazing and there is very little distortion that is normally found with an ultra wide lens!   I can hear you asking how I accomplished this!

I recently picked up the Techart M to FE Sony mount adapter for my Leica and Voigtlander lenses.  It has been my desire to use them on the Sony A7rii, A6300 and A6500 cameras.

The Techart auto focus adapter is amazing. I actually moves the lens in and out to get a sharp focus.  It has several rules that you must follow to use it and as long as you do it will provide great service.  It is quite fast!

  • Use a center focus point on the camera
  • Set your camera aperture to f/2 and leave. It there
  • Set the real aperture directly on the lens.  
  • Don’t try to focus with the lens set to f/22, keep it around f/8 or f/11
  • The Exif data will shot f/2 but the exposure meter will correctly meter the subject.
  • Don’t try to use a heavy lens on the adapter unless you support it.

12mm Voigtlander M lens with the Techart autofocus M to FE adapter

12mm Voigtlander M lens with the Techart autofocus M to FE adapter

Here is a link to a short video demonstration of the Techart M to FE adapter on my Sony A7rii:

 

B&W work with this lens as well as my other Voigtlander and Leica M mount lenses are just as sharp weather in color or monochrome!

Stormy Seas with the Voigtlander 12mm Ultra Wide Heliar M Mount Lens and the Techart Auto Focus Leica to Sony adapter

Stormy Seas with the Voigtlander 12mm Ultra Wide Heliar M Mount Lens and the Techart Auto Focus Leica to Sony adapter

I also have and use a Metabones M to FE adapter which gives the same results but with manual focus only.   Sometimes manual focus is necessary depending upon your subject but reguardless of focus type both adapters and all of my M lenses work wonderfully on the A7rii camera system!

Stormy Seas with the Voigtlander 12mm Ultra Wide Heliar M Mount Lens and the Techart Auto Focus Leica to Sony adapter

Stormy Seas with the Voigtlander 12mm Ultra Wide Heliar M Mount Lens and the Techart Auto Focus Leica to Sony adapter

If you have a selection of M lenses then the cost of a M to FE adapter is well worth the money.  But I am VERY impressed with the new autofocus adapter!

 

Please let me know what you think!

 

 

 

 

 

 

 

 

 

 

 

 

B&W Camera Systems: Functionality/Creative Power/Affordability/Film/Digital ??


Getting your BEST B&W image!

Outer Banks Pier, Monochrom Camera System

Outer Banks Pier, Monochrom Camera System

I wish to share some images and thoughts from the Leica M Monochrom B&W ONLY camera system. I know that it is NOT FILM and a very expensive camera system, but it comes as close as you can get in a wonderfully usable B&W only system!  

Most people will take a color image then  convert  it to B&W in post processing but it will never be the same as actually shooting in B&W with a digital or film system!  Yes you can get close but you loose the amazing gradations and tonality that is part and parcel to world class B&W images.

Dugger Creek Falls, Linville, NC M Monochrom

Duggers Creek Falls, Linville, NC M Monochrom

The Pier on the top, is in the Outer Banks and is a 4 min exposure using a Leica Elmerit 28mm lens and the creek below is is in the New River Gorge in West Virginia. It is Dunloupe Creek and a 8 second exposure using the AMAZING 50mm Summilux lens. As you can see, the graduations and clarity are simply amazing. The water takes on a distinct Platinum tonality!

Why am I showing you these? Well at the end of the post I will give you a link for 2 videos where a Fuji X100T and a Leica M are compared for street photography and for a discussion on the Leica M B&W. The videos are  quite entertaining and shows why sometimes a more expensive camera can be worth the money…

Sometimes!

Dunloupe Creek, New River Gorge WV, M Monochrome

Dunloupe Creek, New River Gorge WV, M Monochrome

 

It can be very hard balancing the desire between camera systems and affordability, but sometimes, with SPECIAL cameras the money takes a back seat. I own 3 Leica camera systems, and 1 of them I could have done without (Leica M240), another is an amazing film system (Leica M7) and then there is the M Monochrom. The Monochrom is scary amazing with crazy good B&W output to even consider shooting color then converting. I have NEVER considered the money spent on it to be wasted! In fact, I am considering selling/trading the M 240 but will keep the Monochrom and M7 film body along with most of my Leica and Voigtlander glass.

Glade Creek Grist Mill, Babcock State Park, WV, M Monochrome

Glade Creek Grist Mill, Babcock State Park, WV, M Monochrome

For me shooting in B&W is a soul centering event. I take it very seriously and slow. When you consider how working in Monochrome strips away the confusion of color leaving the soul of the image then you can understand why I am looking for the very best way to capture the best possible image.  

  • Shooting in color then converting to B&W works but is a compromise and will only give you a compromise image.
  • Shooting in film generates a purest form of B&W image and by far is the best way to do it but requires extensive time for setup, capture, development, wet scanning then printing! One roll of 120 film in the 6×7 format will generate 10 images.  Processing takes about 45 min then it has to go into a film dryer overnight.  Lastly, comes wet mount scanning which can take 1/2 hour per exposure.  Now, I do not scan every image, I choose the very best images from the roll (usually 3 or 4) and only scan those.  All in all there is about 8 hours of work involved with that single roll!  It is a slow process to be sure but very fulfilling and leaves me with a great sense of inner peace. 
  • Now, along came the M Monochrom camera from Leica, a full frame 19 mega pixel sensor with NO COLOR FILTERS over the image wells. This means that there is no anti-aliasing filter, and no brayer array.   So effectively you get a 19 x 3 megapixel image (no brayer layer means every pixel well generate a true monochrome data value different from its neighbors!)  which is crisp and has film like gradations  that are difficult to differentiate from a film negative!
Roanoke Marsh Light, Outer Banks, M Monochrom

Roanoke Marsh Light, Outer Banks, M Monochrom

Aside from doing all of this in film (which I still work in all of the time) the M Monochrome (or its sisters) is the ONLY GAME IN TOWN! Hence, the cost of the system takes on new meaning since it is such a specialized digital system!

Sometimes I will put the film away and take out the Monochrom system.  It is not quite the same as film in the overall process but it certainly is when the finished products are compared!

This is something to consider…

Here are the video links:

 

 

One Perfect Image…


Sometimes we just have to stand there taking it all in!

Hoodoos in Bryce National Park at the Sunset Point Overlook. Olympus XA with Kodak Tmax 100 film. This is MY defining image for my entire trip!

Hoodoos in Bryce National Park at the Sunset Point Overlook. Olympus XA with Kodak Tmax 100 film. This is MY defining image for my entire trip!

Ahh, have you ever had one of those defining moments in life where you KNOW that you are witnessing something truly special that touches your soul?   Well that is exactly what this was for me.  We had been on the road for almost 11 days on a trip from Rapid City thru Wyoming and Utah.  Our last stop of the trip was supposed to be in  Zion National Park but we had to cancel due to terrible rain and flooding in the park.  We extended our time in Arches which was really nice but it was not until I stood here in Bryce National Park at the Sunset point looking down into the canyon that I realized that I had made a mistake… I should have added onto the time there.   We only had ONE day to explore Bryce and it was very nice there with many great vistas and rock formations, but this image at the Sunset Point was the defining moment for the entire trip for me.  

Hood Valley, Bryce Canyon, Sunset overview.

Hood Valley, Bryce Canyon, Sunset overview, Sony A7rii

Understand, that I am NOT talking about either of the  photographs captured and shown above, but rather the moment for me personally standing there taking it all in, becoming one with the scene, no camera, no thoughts of photography only the experience and impact of witnessing the greatness of the scene.   I stood there for a good half hour drinking it all in and I will remember the emotional impact upon me for the rest of my life.   Yes… it was that powerful.  

There is some serious food for thought in this last statement.  In these days of rapid fire digital photography don’t you think that we can quickly loose sight of what it is that we are trying to create in our art?  Shooting in film slows you down which aids in the creative process.  This is not to say that we cannot do this with our digital systems because we can and I do, but rather most of us who practice this art tend to “hurry, capture and move on to the next thing!”   

Olympus XA 135mm

Olympus XA 135mm

It was almost as if it was an afterthought that I actually took my Sony A7rii with me up the trail to the overlook and took a few images which were actually quite nice in color, but after the sensory overload of the scene I could only think of one thing, B&W and FILM.  Yes, I could convert the color image above to B&W in post processing and do quite a good job of it but NOTHING can compare to what I can create with film!  So, it was a bit of a walk back down to the car where my wife and 7 year old grandson were resting because of the long drive to get here, but down I went with only one task, to trade the digital for a TINY B&W film camera, the Olympus XA.  The XA is the worlds smallest 35mm rangefinder camera. It has an amazingly sharp lens with easy focus, but the key is the fact that it is pants pocket (not those bulky cargo pockets but regular ones), it is light and handy.

I took so much camera equipment on this trip that the only space I had for a film system required that it be tiny.   Against all of my experience I threw in this tiny camera along with just 5 rolls of Kodak Tmax 100 film and off we flew.  I am so glad that I did now but having said this it is only fair to share that this was a colossal mistake.  I should have made room for a medium format (120 6×7) camera and taken out a lens or two for the Sony.   I have learned my lesson and will never repeat this mistake.  Don’t get me wrong, the XA captured an amazingly detailed and  sharp image. I love how it turned out.  The Kodak Tmax 100 film along with the Perceptol developer generated a image (yes small) with tiny grain and great sharpness.  Am I happy with the result?  You bet!  Would I have been happier with a larger 120 negative, OMG YES!!  Can I have a do over please?  Yes, I know, not to much of there ever being a chance for that.

So lets sum this up a bit shall we?  

  • SLOW DOWN,  take the time to really look at your subject!  If you do this your chances of creating a world class image will greatly improve.
  • Look closely at what is in front of you, take the time to feel its emotional impact upon you and only then bring out the camera and with your skill and insight to the scene make the camera (nothing more than a tool) capture what you saw!
  • Think in both color and B&W.  Remember though that B&W removes the clutter and confusion of normal color work.  In my opinion, B&W allows you to capture the soul of the scene! So yes, take color but also take B&W, you might be surprised at how well you can do.
  • If you are working in digital only, during post processing work color first completely, save the image THEN process for B&W generating all of the mood that you possibly can!

Ok, this post is done.  Get out there, shoot and create, but slow down and think about what and WHY you are doing it!

My Thoughts on the Art of travel photography…


Or… What I Did On My Summer Vacation!

Warning, LONG post…

Canyon Lands Pano, Sony A7rii with the 24-240 and polarizer

Canyon Lands Pano, Sony A7rii with the 24-240 and polarizer


Devils Tower

Devils Tower

Travel Photography… Say it, let it roll off your tongue, think about it!  I bet that the first thing that comes to mind are images from National Geographic, fine, super saturated color photographs that could take you anywhere in the world by simply looking at them!  You know the kind, they enabled you over the years to travel vicarisly around the world just with the magazine and its images!  

But is that what travel photography really is? 

 

What is the intent of travel photography  to document a place or a trip?  Is it designed to tell a story on an individual level or to the masses?

A6300-3886- S1_500-Whodos Bryce-2016 1 copy

Well for me, it is a combination of the two.  Most importantly, the images are to refresh the memories of the trip.  But there is a real market out there for well done travel photography whether in print publications, web, advertising or fine art prints.  It can be quite profitable if you work at it and can step back and look at your own images in terms of the above markets.  Even the housing deceration market has room for this type of photography provided that you can simplify your work to show colors and contrasts over locations.

Jordan, My 7 year old photographer grandson

Jordan, My 7 year old photographer grandson

For this trip, and pretty much all the time when I am shooting digital, I exclusively use the Sony 42 mpix A7rii camera system and the new Sony A6300 for high speed work with Sony G lenses or Sony Zeiss lenses. They are very well suited to this type of photography and give you enough (42 mix)  resolution to get amazing images yet still have room to crop!

The drive for this post was a recent  two week trip out West with my wife and 7 year old grandson Jordan who I am teaching film photography and darkroom processing to (photographically, I had grand plans for him this trip).  Given time I plan on turning him into a photographic GOD for something fun while making sure he is a Rocket Scientist!

We flew into Rapid City, SD and picked up a one way rental car and our first night in a long string of hotels.

Devils Tower

Devils Tower

Our Itinerary:

  • Prairie Dog

    Prairie Dog

    Day 1. Rapid City layover and rest.

  • Day 2. Pick up rental car and drive to Mt. Rushmore in the morning and then the Devils Tower in the afternoon. Continue on 1/2 way to Codie, WY.
  • Day 3. Famous Hot Springs of Thermopolis, Wyoming then an afternoon visit and guided tour to the most successful dinosaur dig on our continent.
  • Day 4. Codie WY for several stops including the famous old west town and the Codie Rodio.
  • Day 5-7. Yellowstone for 3 days in a park lodge.
  • Day 8. Leave Yellowstone, drive thru and stop along the way in the Tetons finishing in Jackson WY.
  • Day 9. Drive just north of Salt Lake City in the town of Herbor for a 3 hour train ride around the valley.
  • Day 10-12. Drive to Moab for 3 nights and visit Arches and Canyonlands National Parks with extra boat and jeep rides thru the park as well as Dead Horse Point State Park.
  • Day 13. Early morning drive to Bryce National park for 2 days of Bryce National Par
  • Day 14. Drive to Salt Lake for flight home on day 15.

Drugstore of the West, Cody, WY

Drugstore of the West, Cody, WY

So as you can see there was a well thought out family plan for travel and location visits!  But, I also had a plan, my photographic plan!

So lets talk first about my TRAVEL photographic equipment plan.  I wanted to travel light (yea right).  No backpack, rather a small rolling camera case that would fit into the over head of a small commuter plane so that I would not have to check it.  I would not have room for a film camera… Dang!

So here is what I brought along:

  1. Sony A7rii camera body
  2. Sony a6300 camera body for Jordan
  3. Sony 24-240mm one lens does it all for Jordan
  4. Sony 24-70 Zeiss f/4
  5. Sony 70-200 G f/4
  6. Tamron 150-600 for those exotic animals I expected to see
  7. And yes… A Olympus XA 35mm film camera (but it is the worlds smallest rangefinder) with 6 rolls of Tmax 100
  8. Filters, ND for long water falls and polarizers for all of the rest in 67mm and 72mm.
  9. Batteries an chargers (both cameras used the same)

This was a good plan (or so I thought) until our very first stop at Mt. Rushmore where Jordan informed me that the 24-240 was too long and heavy.  Oh well, I took that and gave him the 24-70.

RULE ONE:   No camera plan survives first contact with a 7 year old!

Ok, so at least the part of the photographic plan of me being able to NOT check my camera equipment worked! (I did put all of my insulin and supplies in the camera case just to prove my need to have the case with me but did not need it).

RULE TWO: A super  zoom really works best when you have to carry lots of glass around while traveling.  See Rule One, Jordan did me a favor here!

Yes, I know that one would not normally trade a light 24-70 Sony/Zeiss f/4 lens for a 24-240 f/3.5-5.6 Sony super zoom but I have to be honest, I was VERY impressed with the super zoom!  It was not really that much heaver but it was longer. I NEVER put on the 24-70 after that.

Things to look for on a cross country western trip:

  1. Wildlife
  2. Landscapes & Vistas
  3. Unique rock formations
  4. Waterfalls
  5. Wild colors
  6. Unique photographic visions

Trip Highlights!

Yellowstone

Old Faithfull

Old Faithful

Querimony: To Questionably Moan & Complain!

I expected great things of Yellowstone and that showed in the number of days there as well as staying in the park.  Yellowstone is HUGE, so much so that you have to allow for HOURS of driving time from location to location.  The roads are all good, 2 lanes with adequate pull offs.  BUT having said that there are rules of behavior in pulling off and rules for how you treat the wildlife.   I cannot tell you how many people (especially foreign visitors) who would jump out of the car (still in the road) and run off into the fields right up to the wildlife.  To say that this is bad behavior is an understatement.  It for one, keeps others from being able to photograph the wildlife and two puts the peoples lives in grave danger that approach the wildlife!  Yet this happened almost every time wildlife was near the road.  The park rangers had simply given up on trying to educate people who would not listen. They spend most of their time dealing with the MANY dreadful traffic accidents that happened every day.  The traffic jams were terrible whenever an animal was near.  Sometimes this was due to the animal being on the road but most of the time it was because people parked right in the middle of the road who left their cars. 

Buffalo on the Yellowstone

Buffalo on the Yellowstone river in the early morning mist

I am going to share a few of my favorite images from Yellowstone with you.   It is a good cross section of what you can expect to see while visiting!

 

Blue Pool, Prismatic Spring Yellowstone

Blue Pool, Prismatic Spring Upper Yellowstone

 

Prismatic Spring Yellowstone

Prismatic Spring upper Yellowstone

 

Yellowstone Antelope

Yellowstone Antelope, North Entrance

 

Teal Pool, Upper Yellowstone

Teal Pool, Upper Yellowstone

And last….

 

Lower Yellowstone Falls Detail

Lower Yellowstone Falls Detail 1 second  Exposure with 10 stops of ND

I would travel again to Yellowstone but in the spring or fall in order to see more of the wildlife there.  I realize that in the heat of August even the animals would move to higher locations in order to reduce the heat.  The only wildlife I really saw in abundance on this trip were Buffalo, Elk and Antelope.  

Moab, Arches & Canyonlands National Parks

Delicate Arch

Delicate Arch

The Moab area offered some of the most amazing locations of our trip.  I had thought that nothing could beat Yellowstone, but Moab came very close.   

Sandstone Arch, Arches

Sandstone Arch, Arches

There are 3 offerings here, the Arches National Park, Canyonlands National Park and the Dead Horse Point State Park.  ALL three are must see locations.  For me Arches was the best, but honestly, we spent time exploring all three in detail (well sort walk detail).  We also paid extra for a boat trip on the Colorado River thru Canyonlands for a low view and a back country jeep tour to see area and arches not available to the general public in Arches!  If you get here I advise that you do both side trips.

Courthouse Rock, Arches

Courthouse Rock, Arches

 

Whale Tail Arch, Backcountry Tour

Whale Tail Arch, Backcountry Tour

 

Windows Arch on the Back Country Tour, Arches

Windows Arch on the Back Country Tour, Arches

 

Dead Horse Point

Dead Horse Point. Look at the lower left corner 1/3 up to see the dead horse outline.

 

Canyon Lands, Isle in the sky

Canyon Lands, Isle in the sky

 

General Utah

 

High Desart Train Pano

High Desart Train Pano

So…. I had this vision stuck in my head of a parked line of freight train box cars parked in the high desert with a mesa behind them.  I found myself looking to the sides of the car as we traveled endless miles through Wyoming and Utah.  Finally my wife asked me what I was looking for and when I told her she made a point to help me look and stop me when we came upon them.  I know that out West there are ultra long stretched of road.  Most are 4 lanes with lots of traffic.  If you see that special scene make sure that you safely stop so as not to irritate the 7 year old in the back seat, pull safely off to the side of the road as you watch for the perfect compositional setup and get out and shoot it!  DO IT!  

Because

RULE THREE:   There are NO GO BACKS!  If you see a subject or scene on the side of the road immediately stop and shoot it!

Bryce National Park

Whodos in Bryce Canyon

Whodos in Bryce Canyon

To say that Bryce National Park is anything less that amazing is an understatement.  It was right up there with Arches and Yellowstone in amazing views, colors and the wow factor!  This is the location that I would choose to visit again to try some different styles of photography.  The colors of the Hodoos are simply amazing and full of wild colors and contrasts.  

Natural Bridge Bryce

Natural Bridge Bryce

RULE FOUR:   Revisit those scenes and compositions as many times a possible!

While in Arches, my 7 year old grandson decided that he had enough nature and vistas after driving Arches all day long.  I took them (at my wife insistence) back to the hotel and went back out to Arches and drove it again in different light conditions and the 2nd time there were clouds in the sky.  This made for much better images that I would not have gotten if I did not go back out again!

Final thoughts on what makes travel photography great!

Now as you have seen here, I presented this trip as a travel log.  Attempting to document the many wonders of the high plains in the west. For images that have the possibility of selling you need to:

  • Pay more attention to your editing, scene selection and composition.  
  • You must re-visit local scenes several times in order to get the best light and clouds.  
  • You MUST shoot with your best equipment in order to produce high resolution images for future publication.
  • In your post processing you must choose only your best images and throw the non used images out.
  • Be your WORST critique and select only what you would consider to be world class images.  Case in point, the image above of the Court House Rocks in Arches.  Yes it is a nice image but the lack of clouds in the sky reduce its impact to the point of it being a weak image!

Hood Valley, Bryce Canyon, Sunset overview.

Hood Valley, Bryce Canyon, Sunset overview.

This type of travel photography is more difficult that personal travel images traditionally done by the millions of photographers who roam the country.   These types of images are still travel photography but basically serve to show and remember your great trips!  They will include more family member in the scenes, less care about the total compositional elements because those are simply not as important to the memory of the trip and locations! They are just as important, but will not generally generate income from sales and publication. 

Colophon:  Very Important Lessons Learned:

  1. NEVER, and I do mean NEVER plan a 14 day photographic trip with a 7 year old and expect him to be excited beyond the first week.   I would have been better off leaving the A6300 and 24-70 f/4 at home thus lightening my load and giving him MY camera when he desired to take a photograph!
  2. Make SURE that you explain to the said 7 year old that “NO!  There are places that not only will there be no TV but also no internet!  (I was able to get around this most of the time with my iPhone as a hot spot for his iPad!)
  3. Build in several fun days (as viewed by a 7 year old) that includes things like movies, water parks and so on!  This is a small price to pay for 7 year old mental health and will refresh his young mind and keep it open for those wonderful scenes you travel to!
  4. How can you get those great travel shots when your walking is limited?  As a cranky 63 year old man, make sure that you plan photographic stops THAT YOU CAN DRIVE TO!  We (actually my thoughtful wife) did this ahead of time thus insuring my mental health and happiness at the stops we made!
  5. Take the time to occasionally stop at nice restaurants  that actually serve wine and beer (this will assist with the mental healty of said wife!)  Happy marriages are NOT built and fast food places in a rush!
  6. If you desire to shoot medium format film, you damn well better plan on space for the camera and film!  Regrets upon your return will leave a sour taste in your mouth!
  7. Be flexible, very flexible.  This will leave you happy in the hotel at night!
  8. Take your pain drugs! (See #7)
  9. If you see a photo subject on the side of the road STOP!  There are no go backs! (see RULE THREE about this very thing and really your wife know this and will support your urges to stop in the middle of nowhere!
  10. Wildlife… What wildlife?  How did I miss all the great shots of wolves, coyotes, and bears?  I was in Yellowstone for heavens sake!  The lesson here is to make sure you check the season for high animal activity.  I have listened to my photographer Son talk about so much wildlife in Yellowstone that it was not safe to drive!   I guess he should have mentioned when he was there!  Oh well.  I AM happy with what I actually did see (Buffalo, Antelopes, Elk and Prairie Dogs)
  11. Stop at EVERY overlook in every park.  You will be happier having done so (and vicariously so will your wife).  You will hate yourself when you return home only to have a photographer friend tell you that the one overlook you skipped was the only one you should have stopped at!
  12. If you find a scene that is magical for you revisit at a different time of day.  This is VERY IMPORTANT and promote photographic health for those who have heeded these magic words.
  13. Would I do it all over again with a 7 year old?  YOU BET!!  But I would plan differently.  If I take any of my grandkids I need to remember that it is their vacation as well.  This means that you build in days doing fun stuff for their age also!

Please let me know what you think of this long post!  I welcome all feedback.

 

Bryce Canyon

Bryce Canyon in camera pano

Testing The Sony A6300


Smaller, Faster and able to leap over tall buildings!

Yes, you are correct, I shoot with the Sony A7rii 42 mega pixel full frame mirrorless camera!  What you cry am I doing with the A6300 which is only 24 mega pixel and an APS-C sensor?  Well friends, the answer to that is simple, well perhaps not…   I envision the A6300 as a 720nm Infrared camera.  

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion Look at the detail in the gate and grass.  This has a 3 dimensional effect! 

But it has several very interesting and powerful functions that have engaged my curiosity.  Those are:

  • 11 fps shooting speed.
  • Faster and more accurate focus than the A7rii
  • More focus and metering points.
  • Half the weight of the A7rii
  • Much brighter and accurate focus peaking system.
  • Ability to work macro at 1:1 with live view and not have an over pixelated display.
  • The ability to turn my 600mm lens into a 900mm lens!
Sony A6300 Front View

Sony A6300 Front View

The 4 test images I took today were shot hand held at 1/250s and in RAW with Zone Focusing.  I also had the LIVE VEIW DISPLAY: Setting Effect: ON.  This enabled the camera to simulate the exposure effects during composition to give me an idea of what I am actually seeing. 

The A6300 is a TINY camera system.  It is so light (even with a L Bracket installed) that I had to be very careful when carrying it around.  I worried over dropping it and not knowing!

Sony A6300 Back View

Sony A6300 Back View

The camera does NOT have a built in Stabilizing system, rather it relies on the fact that most Sony lenses have that built in.   I has 3 custom WB memories for those of you who are considering the camera for Infrared and it also has 2 custom setup memories that I have found to be very helpful with my A7rii camera!

I found the camera very easy to use and control.  I setup all of the custom functions and buttons to make my life easier when shooting it.   

As I said, this camera was meant to be converted by http://www.kolarivision.com into a 720nm infrared system and it may actually meet that end, but I really like the ability of the APS system to give me 900mm from a 600mm lens!

 

 

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Here is the color version (with polarizer) of the image above.  The colors are nicely saturated and the overall image is sharp and offers enough detail and sharpness to draw the viewer into the image!

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer.

Here is another view of the salt marsh.  I have to say that the camera with the 24-70 Zeiss lens is easy to hold and control.  The camera control buttons are easy to reach and control without using them by accident.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion.

Pawleys Island Marsh, Sony A6300 with the Sony/Zeiss 24-70 f/4 and a polarizer. B&W conversion.

Lastly, a B&W conversion of the same image.  

I am really excited with the functionality of this little system.  I am pleased with the results and will use it for a few months as a color system for my long lens. Ultimately it will be converted to IR but for now I will play with it.  

There are several issues with its firmware (same as when the A7rii came out).  Overheating during hight speed continuous shots is the big one but Sony assures me that a fix is in work as it was when the A7rii camera came out!

I will be experimenting with the system for a few months and see what it can offer me in terms of images and use.  Later this week it is going to the beach for some ultra long exposures to see if it has any body light leaks!

What do your think?

 

 

Learning To See The SOUL Of Your Image: Black & White


Removing The DISTRACTION of COLOR!

Do you enjoy the purity of a finely crafted B&W image?  

 

Look closely at the image below of the neither regions of the Folley Beach Pier.  This was taken with a B&W only DEEP CONTRAST Infrared camera converted by KolariVision.com with their new AR coating.  Look at the detail and depth captured here.  Do you think that if the sand was actually in color that you would even notice the pier going off into the distance past the initial structure? This is what the power and purity of B&W gives to us!

Fuji X100s 850nm Deep Contrast B&W Infrared: Under The Folley Beach Pier

Fuji X100s 850nm Deep Contrast B&W Infrared by KolariVision.com with their new AR coating: Under The Folley Beach Pier

I love working in B&W,  so that I would only create them if the market would support such endeavor.   There is something about a well crafted monochrome image, having the distraction of color removed leaves you with the soul of the image.  

I find that it is so powerful for me that I look at EVERY scene I approach with B&W in mind.  Yes, I can visualize in B&W.  So can you!  It only takes a little practice… OK, a LOT of practice really, but it is well worth the investment in time and energy!

I am so into fine art B&W that I even have a Leica Monochrom digital camera that is dedicated to it in that it only takes B&W images!   Not to mention digital B&W infrared cameras!  

But DON’T forget film…. Which really is a post for another day.

The baby blue is a Olympus 35RC rangefinder  that I had rebuilt, cleaned and given a nice new set of baby blue clothes!  The second is a Polaroid 900 that my daughter found at a garage sale and sent to me.  I kept it in a display case for a year or 2 then sent it off to  WWW.Alpenhause.com where Steven Icanberry took it apart, cleaned, re-gasket, replaced the lens with a Fujicon 150mm lens and added a 4×5 film back.  He also calibrated the internal rangefinder to the new 150mm lens and gave it an adult blue suite!  It is a dream camera come true! 

 

My Custom Olympus 35 RC Film Camera, one of dozens of film systems I shoot.

My Custom Antique Olympus 35 RC Film Camera, one of dozens of film systems I shoot.

Polaroid 900 converted to 4x5 with a Fujicon 150mm lens.

Polaroid 900 converted to 4×5 with a Fujicon 150mm lens converted by Steven Icanberry

I shoot 35mm, 120mm and 4×5 film systems.  Usually, I will expose about a dozen rolls a week in 120, Develop, Dry and Scan then treat them as I would a digital image except for the fact that I will never be starting with a color image!

Rollei IR400 Film - M7 28mm Elmarit - Rodinal 1-50

Rollei IR400 Film – M7 28mm Elmarit – Rodinal 1-50 processing, scanned and printed

I mainly  shoot with my Sony A7rii camera and a selection of 4 lenses in my normal day to day work.   I shoot in COLOR but always process both color and B&W in post processing.   I can just hear you say “why not just shoot in B&W in camera?”   Well the easy answer is while you can do so, you will get much better B&W images by shooting in color then post processing to get the best possible color image, THEN convert to B&W.  I use The NIK filter Silver EFX Pro for my B&W conversions, and by feeding it a finished color image it will have enough data to generate a wonderful B&W image!

Here is an example of just what I mean:

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.  Daddy’s Girls, Bluffton, SC

First an image of Daddys Girls, a shrimp boat out of Bluffton, SC.   The image is a great one, full of colors and textures with an interesting sky!  I feel that in color this makes a wonderful image and think that there is a market out there for it.  I spent the time with the image during post processing to bring out the colors, textures and contrasts to make the image pleasing.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Daddy’s Girls, Bluffton, SC

Then, and ONLY THEN I ran the image through Nik’s Silver EFX Pro B&W converter.   I Chose a deeply sepia tinted output with a slightly scratched texture and a minor border.  This to me is a pure image with which you can witness and feel the soul of the scene!

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.  Stormy Seas, Head On with the clouds of tropical storm Colin.

Another example from the Sony that I took and post processed today is this image of the shrimper Stormy Seas, likely the MOST PHOTOGRAPHED shrimp boat in South Carolina, IN COLOR.  

Again, I shot in COLOR in order to have as much data as possible for the B&W conversion. Again I found myself in a sepia mood and processed it as the examples above!  As you can see, it has a totally different look, feel and emotional impact from its color version above!

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens.

Sony A7rii w/ Sony/Zeiss 24-70 f/4 lens. Stormy Seas, Head On with the clouds of tropical storm Colin.

B&W images can be really powerful in their emotional impact.   There was a time when B&W was all you could have, then color became popular because of the fact that it was different!  But guess what?  B&W is again VERY POPULAR to the point of actually out selling color in fine art shows and to collectors!  This should give you pause if you are concentrating in color only.  You are missing have of the scene, the most important half!

Roanoke River Lighthouse, M Monochrome

Roanoke River Lighthouse, Leica M Monochrome Camera system, B&W only!

 

Learning to work the scene!


Have a plan to work different compositions with in your scene!

Stormy Seas Side Shot

Stormy Seas Side Shot  Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

You know how it is when you walk up to a scene and notice it for the very first time?  Usually we are amazed at what we have discovered!  We setup take the image and walk away congratulating   ourselves as to the amazing luck at finding such a perfect subject!

But wait!  You have all heard that you should work a scene, right?  Just look at all of the cool parts that make up the whole.  I am also sure that you have heard the phrase, “WORK THE SCENE”!  Well that actually means what it says.  Start wide and work in and around getting closer and more details!   When you are as close as you can stand, then work your way back out again!

This is powerful advice…

This is also the secret of all those world class images you see posted or published around the world.  Do you actually think that the professional photographer working and Nat Geo only took the one image?  Really???  They are just like the rest of us, a 30% keep rate and a 90% garbage rate!

So, knowing that it only make sense to take the time to work the scene.  Looking at the top image you see that I could the shrimp boat Stormy Seas with a long liner Charlotte Marie under the strong clouds of tropical storm Bonnie.  The scene is full of mood, color and contrasts.  I was specifically looking to work the shrimper so I did not pay any attention the the long liner.   Here they are a dime a dozen but there are likely a lot of detail shots there also…

Stormy Seas

Stormy Seas, from the bow, Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

So as you can see, I have now walked around to the dock the shrimper is on and take a bow shot composing to keep the other boats, docks and other muck out of the image.  I still set it up to get the great storm clouds.  A much better shot than the first, no?

Stormy Seas

Stormy Seas, closer but  from the bow, Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

Next I move further in, closer to the bow, looking at the painted boat name and the great structure and contrasts hidden the the hull of the boat.  As I stand here I think to myself that having the anchor cut off is a bit distracting but then decide that it adds a hint, or suggesting more out of scene that adds a bit is mystery to the image.  Again, in post, I have added a bit of mood to the clouds also!

Stormy Seas Side Detail

Stormy Seas Side Detail, Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

Now I am walking down the boats side, paying attention to the colors and patterns around the wheel house.  There is a lot here and the images continue to improve. Having the walkway moving up and away from me give a sense of infinity and curiosity as to what is at the bow above!

Stormy Seas Life Ring

Stormy Seas Life Ring, Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

Moving further back towards the boat’s stern (back for you folks who live in Idaho!) I come upon the life ring with assorted fishing accessories hanging from it.  This scene is the most promising so far.  Look at the textures in the wall of the wheel house, the deep rich red tones and the crisp writing of the boats name!  It gives me shivers overtime I look at it!

Stormy Seas Line

Stormy Seas Line, Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

But wait!  Just below the life ring hanging on the gunnels of the boat is a coil of heavily textured rope.  The rusty bold and chipped and rotting rail add so much texture, mood and stories that I am drawn to create an image just of this one detail!

This is exactly what will happen if you take the time to explore your scene totally working inwards getting more and more details as you go!  If the scene is worthy of taking, it demands that you explore it in great depth and detail.  Give it the time to do a good job and document all of it’s glory!

Stormy Seas, side detail, B&W

Stormy Seas, side detail, B&W, Sony A7rii with the Sony/Zeiss 24-70 f/4 lens and polarizer.

Do not forget to work in B&W as well, each and every image you take might have magic wonder hidden within its detail if you look at in in monochrome!  Look closely at the image above.  The hull has MUCH MORE DETAIL in its structure than the one in color did yet they are the same exposure!  The clouds have more depth.   Monochrome images discard the distractions caused by color… But that is the subject for another post….

Remember, this has NOTHING to do with the type of scene you shoot, nature, landscape or shrimpers, it is all the same!

What do you think?

 

 

 

 

Amazing New AR Coated IR Filters from KolariVision.com


Kolari Vision introduces a NEW Anti Reflective IR coating for their conversion filters!

Fuji X100s, 850nm Kolari AR conversion - Under Foley Pier

Fuji X100s, 850nm Kolari AR conversion – Under Foley Pier

I LOVE shooting IR and have a long history with it in both Film and Digital.   I have had over 25 conversions from ALL of the big conversion companies around the country!   But, once in a while I would get a camera that no mater how hard I tried, I will get a hot spot with it or the lenses I used.   You learn how to deal with this by selective use of the aperture but once in a while you would just not be able to get around the problem and loose the shot….  

Fuji X100s, 850nm Kolari AR conversion - Shrimp Boat

Fuji X100s, 850nm Kolari AR conversion – Shrimp Boat

Well about 3 weeks ago Ilija from Kolari (http://www.kolarivision.com ) sent me a note telling me about a new coating process for his conversion filters.   I have a long history with Kolari, LDP and Lifepixel but I have never heard of this till now.  Ilija offered to do a free conversion with this newl IR AR coating for me in return for evaluating it in the real shooting world! So I told him that I would send the X100s off as a test camera and that I needed it back fast in order to allow others to play with the camera also!   Off it went on Tuesday.  Imagine my surprise when I got it back in hand the following Wednesday!

Here is what Kolari says about this new AR IR coating:

  • Uncoated glass has a reflection of around 4-5% at all wavelengths, and we found that this reflection off the sensor filter was bouncing off the glass and reflecting back from the lens housing and aperture blades to cause the hotspots.  We developed this anti-reflective coating that is centered around the IR wavelengths that cause hotspots, and reduced the 5% reflection down to <0.5% (see the attached graph for reflection % by wavelength scan, and the picture of the IR filters for the visual difference of IR reflection).
Unknown

  • The coating does not reduce visible light reflections as much, and does not reduce blue reflections at all. This gives the glass we use a blue shine, since that is the only range that is fully reflected still (see picture of black filters). 
AR coating test on Visible Light

AR coating test on Visible Light

AR coating tests on BLUE light

AR coating tests on BLUE light

  • I am getting ready with a new website which I hope to launch in 1-2 weeks, so I have not put the coated version of the conversions online yet, but they will be offered on our Full spectrum, two spectrum, 590, 665, 720, 850, and Blue IR/NDVI conversions. There will be a $50 optional upgrade on all of our conversions at this point.

 

  • I plan on offering only the coated version eventually, but the batch runs are expensive and I cannot coat our full inventory at once. I’m not sure if you are aware, but we stock custom made custom thickness filters for all our camera/filter combinations so that each conversion gets a piece of glass that maintains the original optical distance (refractive index x physical thickness) as closely as possible, which changes for each filter material. Other companies use a few general size pieces of glass, glue them directly to each sensor, and calibrate the focus for an arbitrary lens, which reduces what they have in inventory. Our design choice means that we have around 200 unique pieces of glass in inventory for DSLR and mirrorless cameras, and another 200 for point and shoot models, so you can imagine the challenge in getting them all coated. – Ilija

Fuji X100s, 850nm Kolari AR conversion - Thru The Door

Fuji X100s, 850nm Kolari AR conversion – Thru The Door

So as you can see they are up and almost ready to start filling orders for these new filters.   

Fuji X100s, 850nm Kolari AR conversion - McClellanville Fleet

Fuji X100s, 850nm Kolari AR conversion – McClellanville Fleet

I have to tell you that with my test conversion on the Fuji X100s to AR 850nm that ALL of my hot spot issues simply went away.  This camera has always had a tendency for IR hot spots.   I have converted, tried and sold so many IR systems in the past that I have lost count.  I could not, would not sell this one as it is one of my most prized IR systems.  To say that I am pleased with the results of the Kolari IR AR Coating is the understatement of the year!

Remember, if you decide to order from Kolari, give them my name for a $15 discount!

 

Advanced Work With The Sony A7rii


Using the Sony A7rii for advanced photographic work….

 

Long Exposure In Charleston, SC

Long Exposure In Charleston, SC, 30 seconds with a 6 stop B+W ND

I was in Charleston, SC last weekend with the a7rii camera system to see how far I could push it!   I find the Sony system to be refreshingly powerful and very capable of any style of photography I desire to shoot.   The Image above of the boat house (Sunrise) was just another example of the power of this system.  I was looking for some long exposure and the water of Charleston Harbor was very smooth to start, with only 6 to 12 inch waves.  The sunrise was blocked by a tremendous super cell thunderstorm system so I just concentrated on the boathouse and smoothing out the water.   I was using the Sony FE 70-200mm F4 G OSS lens at 150mm with a 6 stop B+W ND filter attached which was giving a 30 second exposure.  I was sure that 30 seconds would give me a very smooth water (which it did).  I also desired to capture detail in the stormy clouds but keep the white water.  I metered the waters surface and placed it in Zone 7.5 (what!  You do not know the zone system?  Shame…. We will have to fix this!).  This at ISO 50 and f/16 gave me a 30 second exposure and allowed the 14 stop dynamic range of the camera to capture both the withe of the water as well as cloud details!

Granted, the Sony has a LARGE menu system but the provide you so many programmable custom buttons AND several system setup memories that you can with the turn of a control knob chance the camera functions over to the specific style of shooting you desire!  In my case, I have the M2 memory setup for long exposures, and by simply turning the command dial to M2 the camera is ready for long exposures!

Miss Lulu, Georgetown, SC

Miss Lulu, Georgetown, SC

Here is another example of the amazing capture ability of the Sony.  This is the shrimper Miss Lulu on the dock in Georgetown, SC last Monday morning.   The water of the bay was at slack tide, super high and mirror smooth.   I decided that for this image I wanted B&W but still captured it in color since a color starting image gives the best B&W conversion.   I was using the Sony/Zeiss FE 24-70mm F4 ZA OSS lens at ISO 100 at f/8 with a shutter speed of 1/320 second.  I waited till a Pelican flew into the scene from behind the boat for the capture.  The clouds were slight but still stunning but the boat and its reflection really made the image.   

As I said, During my pre-visualitlation of this image I decides upon monochrom with a flying bird.  I setup the boa further into the image space to allow for a bird to fly into the scene and balancing the overall image with the boat centered with the trees on the right.   This is not a simple snap  shot, a lot of thought went into its setup!

Shrimp Boats are one of my favorite subjects and each and every time I happen by them they always present something new and different!

A Little Time Off With The New Sony A7rii Camera System


A personal trip to the West Coast to chase Hummingbirds, Rough Shorelines, Fishing Boats, Light Houses & Elephant Seals!

Light at Santa Cruz at Sunrise. Sony A7rii

Light at Santa Cruz at Sunrise. Sony A7rii 15 second exposure

Yes, it has been a busy year with the start of our workshop schedule!  Add into that a knee operation, taxes and other such negative aspects to life we decided that it was time to take a break!   So, for 2 perfect weeks we ventured out to the San Fransisco area to explore the rough West Coast!

Looking North along Rt. 1. Sony A7rii

Looking North along Rt. 1. Sony A7rii

I know that it has been a long time since I did a post here but the workshop and teaching schedule has been brutal.  It seems as quick as one year ends that another begins and we are busy again!  The good news is that the photo schools are moving along and this years workshops are moving forward.  I have had NOT had any time to work in the darkroom this year yet but hope to fix that soon as well.    Plus the knee repair is finished and I am starting to feel a little better after that!

Sea Lion on a Float. Sony A7rii

Sea Lion on a Float in Monterey. Sony A7rii

So, we decided to take a break from it all and flee to the West Coast to get lost in the rough shore, wildlife and the continued search for old fishing boats!  It was a wonderful trip and I am sorry to say that it is all over and done with but with great photographic results!

Sea Lions at rest... Sony A7rii in Monterey

Sea Lions at rest… Sony A7rii in Monterey, 70-200mm G f/4

This trip was centered on the new Sony A7rii 42 mpex camera body.  As you know I am a dedicated mirrorless shooter and in my quest for the perfect camera I have settled on this system.  It has amazing functionality, SUPER wide dynamic range (14) and a review from DXO as the best and most advanced image sensor ever tested!  I also added the Sony/Zeiss 24-70 f/4, the Sony 70-200 G f/4 and the Tamron 150-600 A lens with the Sony adapter which allows full lens control and auto focus.  I also have adapter for all of my Leica and Contax glass as well but for this trip it is the 3 lenses listed above!

 Rt. 1. Sony A7rii

Rt. 1. Sony A7rii, 87 sec exposure, 70-200mm G f/4

We based our home plate in San Jose and then traveled around for the 2 weeks.   Spend most of our time in Santa Cruz because the hummingbirds were there in vast numbers building nests and laying eggs, but more on that later.   We also went north to Point Reyes specifically to photograph the wrecked fishing boat Point Reyes.  But while there spent time with the lighthouse and Elephant Seals!

Lone Cyprus, 17 mile drive, Peeble Beach. Sony a7rii

Lone Cyprus, 17 mile drive, Peeble Beach. Sony a7rii, 70-200mm G f/4

We also went south to Monterey for whale watching and a trip along the 17 mile drive!  The image above is from the Lone Cyprus along the drive.  The drive costs $10 per car but is very much worth the cost.  It is full of wildlife such as birds, deer and seals.  The rugged coast has to be seen to be believed!

The Point Reyes, High and Dry. Sony A7rii system.

The Point Reyes, High and Dry. Sony A7rii system. 24-70 Sony/Zeiss f/4

So then this image I am sharing above is the Point Reyes, a boat washed ashore a while ago.  This boat was suggested to me by my friend Jennifer Hunter who lives in Santa Cruz and was one of my main location visit requirements.  This is in a National Sea Shore North of San Fransisco and was about a 3 hour drive from San Jose.   

The Wave.... Sony A7rii. This wave was over 80 feet high.

The Wave…. Sony A7rii. This wave was over 80 feet high.

The WEEK we arrived this boat was burned on its stern by a STUPIDLY UNCARING PHOTOGRAPHER who put his own agenda above the preservation of the scene.  He was doing spark photography with flaming steel wool and destroyed the back.   I hope that the Federal Government (National Park) throws the book at him for this.   I feel very lucky to have walked away with this wonderful shot of this local landmark…

Point Reyes Light. Sony A7rii

Point Reyes Light. Sony A7rii, 70-200 G f/4

Also visited was the Point Reyes Lighthouse!   What a wonderful subject and location.  It is high on a cliff over looking the Pacific Ocean.  It is full of color, depth and wonder!   

Elephant Seals, Sony A7rii with 150-600mm Tamron A mount.

Elephant Seals, Sony A7rii with 150-600mm Tamron A mount.

So as you can see, I have LOTS of time to relax and shoot with the new Sony system.  To say that it is an amazing system is an understatement of Biblical proportion! All of the lenses are flawless and gave great results!   

Bright Allen's Hummingbird

Bright Allen’s Hummingbird

But Wait!  I have not shared my several trips to the Arboretum at the University of Santa Cruz!  There were hundreds of Allen’s and Anna’s humming birds there deep into the fury of mating season!  They were amazing subjects and since I did NOT bring along my hummingbird flash setup I was forced to shoot the “bird on a stick” portraits.  Still, the results were stunning.  ALL of these shots were taken on the Tamron 150-600mm A mount lens with the Sony A to E adapter.  Yes, it did and would auto focus, but with the birds against the green vegetation it had a difficult time picking them out to focus on.  

Allen's Hummingbird

Allen’s Hummingbird

So I shifted to manual focus (yes I said manual…) with white focus peaking.   To say that I was stunned at the ease of focusing with this at high speed still leaves me breathless with wonder!  

Super Bokeh: Allen's Hummingbird

Super Bokeh: Allen’s Hummingbird

The Sony manual focus with peaking is simply the BEST manual focus system that I have EVER used!  It was fast and DEAD ON…

Allen's Hummingbird

Allen’s Hummingbird

I will let the results speak for them selves…

 

I hope that you enjoyed this update and info on the new Sony system.  Please let me know what you think!