I’m still doing some dance performance work,

and on the right occasions, I am going to interesting places that yield interesting pictures

The highlight of the year for me photographically was a project that I did with one of the seniors at my daughters’ dance studio

I think that the other notable thing for me and photography in 2011 is a move away from Flickr and towards Google+, Facebook, and 500px. This is definitely a bittersweet thing for me. Flickr is pretty much responsible for getting me back into photography and putting me on a good track of growth. At the same time, I see Flickr weakening in various ways. I do a limited amount of portrait/dance shooting in my local area. For this kind of work, Facebook is pretty much the place where people might see my work. When Google+ burst onto the scene earlier this year, it was clear that it was really pretty decent for photography, and a lot of professional and advanced amateur photographers have taken to the service. In particular, Google+’s hangouts feature is great for photography growth. There are amazing photographs and photographers on Flickr, but if you look at 500px, the level of photography being displayed there is pretty amazing. I’m going to keep using Flickr, I think, but I’m going to be shifting more of my energy to Google+ and 500px in 2012.

One of the big happenings in 2011 was that we did a remodel of the empty bonus room that’s over our garage. One of the use cases for the design of that remodel was as a photo studio. Due to time, I haven’t really been able to get up there much, but I hope to spend some time working there come the new year, so perhaps next year’s roundup won’t be so lean.

Back in April I picked up a Panasonic GF-1, and from then on, I did every assignment with that camera and the 20mm f/1.7 lens. I’ve mostly shot zoom lenses, and I wanted to try shooting only with a prime lens, to get a more intuitive grasp of the 50mm (20mm on Micro 4/3 camera is close to 50mm on a full frame DSLR) field of view, and to force my self to compose by moving the camera as opposed to zooming all the time.

I did find some drawback to the experience. Shooting everyday can be arduous at times. There were days when the combination of time commitments and subjects left me casting about for a picture at 9 or 10 in the evening. There were definitely days where I put up a photo that was just barely acceptable in my eyes, which rankled me both on the day, and unconsciously thereafter.   

Duncan and I have spent some time talking about the whole experience of the Dailyshoot. I think that it’s the kind of thing that everyone ought to attempt. For 2011, I’ll be keeping an eye on the assignments, but I’m going to be a lot more relaxed about it.   

Here are some of the better photos from the year (the entire set is here). Also mixed in are some dance photos from this year’s dance events.

January

Feb

March

April

May

June

Bainbridge Ballet’s end of year recital

July

August

September

October

November

December

The Olympic Performance Group‘s 2010 Nutcracker.

iPad

Conference like settings are one of the situations where I felt that I could make the best of the iPad. Apparently, I was not alone, because there were probably somewhere between 5 and 10 iPads at the event.

My flights from Seattle to JSConf included 6 hours of flying time, and hour and a half of layovers, plus the usual waiting around time in airports. During that time I read some e-mail, watched about 90 minutes of video, and read several PDF books / documents. By the time I finally ended up in my hotel room, I still had around 80% of the battery charge remaining. I used the iPad as much as possible during the first day of JSConf, and the battery finished at 49% at the end of the first day. Thus far, the battery life is beyond my expectations.

During the conference, the primary activities that I was doing were e-mail reading, web browsing, twittering, and taking notes. For the first two activities, I used the built in Mail and Safari. For Twitter, I switched back and forth between Twitterific and TweetDeck. I used Evernote as my primary note taking tool.

I started out using Twitterific, but at some point it stopped working and was giving a message about an nvalid server certificate error. Echofon on the Mac was having a similar problem. I had TweetDeck installed on the iPad as a leftover from trying it on the iPhone, so I gave it a try and it worked. On the desktop I am not a fan of Tweetdeck’s AIR based user interface, which outweighs it’s advantage of having columns. When I use Syrinx on the desktop, I just open a stack of windows and that works fine. But on the iPad, Tweetdeck’s column based model makes a lot of sense, especially if you hold the iPad in landscape mode. I was mostly happy with the experience, although Tweetdeck has some weird UI in places:

• It’s hard to get a sense of when the various columns refresh, and there doesn’t appear to be a way to get individual columns to refresh. I’d love to be able to use Tweetie 2′s pull down to refresh gesture to do this.
• Favoriting tweets (which is how I keep track of interesting information on a mobile device) takes over the whole screen for a moment, causing an annoying flash/blink effect.
• In Landscape mode you can’t click links or view profiles (the latest update to TweetDeck has added support for link clicking)
• If you select a tweet and then discover that you need the additional menus popup, then you need to select another tweet and then reselect the tweet you want to act on

I love Evernote, and I’ve written about that before. The iPad version of Evernote is fantastic, with perhaps one exception. If you try to edit a rich text note, you are put into a weird append only kind of mode. I have some Python scripts that create rich text notes from items on my calendar, so it’s annoying to go back to Evernote on the iPad and then be put into append mode. I would love to see a full rich text editing capability come to a future version of Evernote for iPad (and sure, iPhone). Other than that, it was a workhorse at JSConf.

At many conferences, there are multiple WiFi networks, and you have to switch among them as you go from room to room. This was the case at JSConf. On the iPad, this meant a trip to the Settings app in order to select a new network. It would be great if the iPad would switch among multiple known networks based on signal strength. I can think of some reasons why you might not want to do this, but in my situation, it would have been really convenient.

All in all I had a pretty good experience with the iPad as my primary device. I can definitely see it as my primary conference machine, as well as my “in a meeting” machine. iPhone OS 4.0′s “multitasking” will reduce the annoyance associated with waiting for apps to restart on switching.

MacBook Pro

At work they issued me a unibody MacBook Pro 15″. These are supposed to have much better battery life than their pre-unibody forbears. As far as I can see this is true. I imagine that the recently refreshed models are even better on this count. The only other thing that I noticed was that the power adapter gets pretty hot while recharging the machine.   

GF1

Like many photographers, I’ve been looking for a small, high quality, camera that I could carry with me almost all the time. I have my cell phone at all times, and in a pinch, a cell phone picture is better than nothing. But a cell phone camera, regardless of megapixels lacks the controls that I’ve grown used to when making pictures. I’ve started carrying a Panasonic GF1 with the 20mm lens. The wide aperture prime suits the style that I like to shoot in, and the Micro 4/3 sensor gives pretty decent looking pictures. The GF1 produces 12 megapixel RAW files, which in principle is the same as my D3. Of course, there’s a vast difference in quality of those pixels, but thus far I am pretty happy. It has all the controls that I was looking for, as well as a hot shoe for Strobist shenanigans. It’s going to take me a while to master the controls, but I’m in no hurry. It did seem odd to be setting around with the tiny GF1 while the DSLR toting strobists were doing the photos of JSConf. I’ll be doing most of my Dailyshoot assignments with the GF1 — I’m looking forward to drawing material from downtown Seattle. Here are a few of the shots so far:

Bose QuietComfort 15

I am pretty sensitive to noise. Between commuting on the ferry every day, working in a building with thin walls, and spending time on airplanes, I decided that I needed help in coping with all the noise. Ever since the Bose noise canceling headsets came out, I’ve been interested in them for cutting the noise and helping me concentrate. I’ve started carrying a set of the Bose QuietComfort 15 headphones. These do a great job of cutting out noise. Most kinds of background noise gets cut out, but you can still hear human voices, albeit at a reduced volume. A little bit of music takes care of that quite easily. Like many people who reviewed these headphones, I do experience the sensation of pressure while wearing them, but these headphones are much more wearable than the earplug style Etymotic headphones that they are replacing. The only other drawback that I’ve found is that they don’t appear to built super well, so I am taking care to carry them in the semi hard case that they came in, which makes them a little less convenient.   

I think that I am well equipped to survive commuting and office life.

January

This year I did a lot more work with local and regional dancers. Here’s a danceseattle rehearsal shot.

February

I continued my role as the official photographer for Bainbridge Island Chinese Connection’s Chinese New Year Celebration.

March

I caught this shot of Guido van Rossum at PyCon by being in the right place at the right time. My camera was lying on the table next to me when Guido suddenly grabbed the Django Pony and started running down the aisle. He was moving fast enough that I had to snap off a bunch of frames to catch him in focus.

April

April was busy dance month. The Olympic Performance Group put on “The Toymaker’s Doll” (also known as Coppelia).

danceseattle had their first ever performance.

For the first time in a long time, I actually was able to show up to a Seattle Flickr Garage shoot.

May

May is when the weather in the Seattle area starts to get decent, so I was able to get some nature subjects in front of the lens.

June

I headed to San Francisco for JavaOne in early June.

I finished out June with Bainbridge Ballet’s end of year recital.

July

The Bainbridge Island Fourth of July Parade is always a family and photographic staple.

Also in July, we had the first guinea pig born in our house.

August

I made it to a second Seattle Flickr garage shoot.

September

Senior pictures for Bainbridge High School are due at the end of September, and I did 4 sessions in the space of 12 days or so.

October

School was in full swing in October, and one of the science lessons that Julie did with the girls involved extracting DNA using Bacardi 151 rum.

November

This year was the 10th Anniversary of the Apache Software Foundation (and my involvement with it). I did take a few shots while I was at ApacheCon.

I was also fortunate enough to get a slot to J. Mark Wallace’s US Meetup Tour when it hit Seattle.

December

Photographically, December is dominated by the Olympic Performance Group’s production of the Nutcracker.

The following week at DjangoCon, I lost the strap portion of my Upstrap quick release strap. I liked the Upstrap, but it wasn’t ideal. The Upstrap was great because of the non stick rubber pad that they use – it really won’t move. But like most other camera straps, I found that I was constantly getting it fouled in my arms or something, especially between landscape and portrait modes.

Duncan had promised me one of the early prototypes of the LumaLoop, so I put the official black and neon yellow strap on the D3 and waited patiently. Yesterday, my LumaLoop arrived, and I quickly installed it in place of the Nikon strap. The LumaLoop is a “sling strap” similar to the Black Rapid R-Straps that have become popular recently. The Black Rapid straps screw into the tripod socket on your camera, which is a problem if you have any kind of heavy duty tripod plate mounted on your camera, or if you shoot vertically a lot (this is even more of a problem if you have small hands and a camera with a battery grip). The LumaLoop attaches to one of the regular strap mounts on your camera, and once attached, you can slide the camera up and down the strap. The mounting loop is attached with a quick release clip, so swapping cameras/straps is easy as well. Duncan has a series of blog posts that detail the reasoning behind the design:

• Hacking the R-Strap
• Camera Strap Update 1
• Camera Strap Update 2

Here’s a quick snapshot of mine:

You can see the loop part that goes on the camera, as well as the quick release between the loop and the rest of the strap. It’s a bit harder see the padded non-slip shoulder pad.

The LumaLoop is going to be available from Luma Labs sometime very soon (Duncan gave me perimission to talk about the LumaLoop in advance of its general availability). You can follow Luma Labs on Twitter to keep up with all of the news and the official announcement. I’m excited to have a strap that both holds my camera securely and stays out of my way when the action gets going.

For a while, I’ve personally been focused at thinking about photography in these two buckets, craft and science if you will. But, just as I got too comfortable with that thought, something in the back of my head sits up and points out that I’m missing something important. There are skills that don’t fall into either the craft or science buckets. These skills include the ability to conceptualize what you want to communicate in a photograph, the ability to provoke an emotional response in a viewer of the work, the vision to look at things in a way that is intriguing, or the ability to suss out what is important in a fast moving and world changing event. This is the real art of photography. It’s what transcends simple documentation into an image with the power to either move one to tears or a smile, or even to change the world.

…

Duh! How could I miss that one for so long. Maybe because it was so obvious? Sort of like air? It was surprising to me, considering all those years I spent in architecture school.

The problem with this last bucket is that it’s really hard to talk about. It’s full of things that are hard to describe in words. The je ne sais quoi. Exposure? Easy to communicate in words on a variety of levels. The feeling of a photo of a baby? Obvious, so obvious that words aren’t necessary. What makes a photograph from a war zone make people want to stop making war? An awful sublime, but so very hard to put words to.

This is something I’ve been pondering myself. I’ve gone from taking pictures, simply reacting to what is around me, to making pictures – working to arrange the circumstances (as much as possible) to create a picture. Once you make this jump, you are soon confronted with some of the questions that are in Duncan’s third bucket. I’d also put the whole question of artistic vision into that bucket as well. What am I trying to say? To who? And what is my style of saying it? I’ve gotten into a stereotypical artist’s funk about all of this, with not quite an end in sight.

Fortunately, the day after I read Duncan’s piece, I saw Zack Arias’ video “Transform” over at Scott Kelby’s blog. It’s strangely comforting to know that someone of Zack’s caliber has some of the same feelings. It obviously touched a chord with many other people as well, judging from the comments and the Twitter reaction.

Back into it…

February

March

April

May

And May is the month that our daughters’ ballet studio has their big recital

June

Our vacation in June included a trip to Smith Rock State Park in Oregon.

July

I spent a lot of July on the road. Vilnius, Lithuania

Prague, The Czech Republic

August

In August I made some photographs for the ballet studio

September

I shot my first set of senior portraits in September

October

I haven’t been around a lot this year to shoot with Seattle Flickrites. In October, a few of us took advantage of a local studio

November

A number of dancers from the studio were involved with a local production of the Nutcracker. I shot the headshots that were used in the program

December

And I photographed the actual performances once December rolled around

The book is a guide to Lightroom, and is populated with pictures and stories from an adventure trip that Aaland and a number of other distinguished photographers took to Tasmania. In the first edition, they took a trip to Iceland, which has now given me the bug to take a photo trip there someday. I found the book to be very helpful. I learned a bunch of shortcuts which I didn’t previously know, and I got to see examples of how to do the same tasks that I do, but using a different mechanism (a lot of this involved direct manipulation of the histogram in the Develop module).

The chapters on the Develop module are the strongest point of the book, partially because this is the strongest part of Lightroom. There is good introductory material, but there is also good stuff for advanced users, like how to hack the textual representation of develop presets. I added several presets to my repertoire by using this trick. My favorite of the Develop chapters was the one about the recipes from the various photographers on the Adventure. I always find it instructive to see how someone has done the post processing on a particular image. Know how much (or little) someone has done helps when you look at the finished picture, and gives you an idea of how far you’ll be able to take your own images straight out of the camera.

If you’re interested in getting more out of Lightroom, I’d have no problems recommending Photoshop Lightroom 2 Adventure.

This is an advanced Photoshop book, because I consider any book that spends two chapters on how to combine several images (not via HDR) to obtain a single image to be advanced. The first chapter alone was worth it for me. Versace talks about how to control how the viewer’s eye moves around in a photograph and then shows how one might take a photograph and process it so that the viewer would take in the photograph in the desired manner. He introduces the technique of creating image maps which are then used to guide the various post processing steps.

In addition to white and black points, curves, layer blending modes and gaussian blurs, this is the first book that I’ve read that discussed the use of Photoshop’s Lighting Effects filter. Being a lighting guy, I’m not sure how I feel about that, but it was interesting to observe the rationale and effects of this particular filter. I’m not sure that I will ever use Versace’s technique of harvesting several images to obtain a single image, but it was interesting to see the thought process, which might be of use when composing pictures in the viewfinder and assessing the goodness or badness of a shot.

I have yet to actually try Versace’s method on a photograph, but there are many stunning photographs in the book. I’m looking forward to things slowing down enough for me to actually sit down and try my hand at some of the more basic techniques that he described.

Back in April I bought a new camera. When I got my first digital SLR back in 2005, I was just getting (back) into photography, and I had no idea if was going to really take to it or whether I would be any good. As a result, I went for the best cheapest camera that you could get at the time, which was Canon’s Digital Rebel XT. That camera served me well, but thanks to the digital format, I’ve been getting better at a pretty decent rate, and I was starting to run into areas where the camera was interfering with my ability to get the shots that I wanted. I knew that a new camera was not going to bump my work up a huge amount, but I was starting to get frustrated with it. It also wasn’t a smart idea for me to play with a Nikon D300 at one of the Seattle Flickr Meetups.

If I was going to upgrade cameras, I was also probably going to go full frame, because I like very shallow depth of field shots, and the possibilities for thin depth of field are better on full frame. This presented a problem. I only had one really good lens in my Canon set, the 17-55mm EF-S lens. The Canon EF-S lenses are unusable on the Canon full frame cameras, which basically meant that I would have to start over in terms of good lenses. Since I was going to have to start over, it only made sense to look at all the cameras in the marketplace.

When I did that, I was really impressed with the ergonomics of the Nikon cameras, so I started really looking at them much more seriously. Nikon has been been very aggressive about improving their cameras. This is in contrast to Canon, which had not dramatically improved the 20D/30D/40D series, had yet to announce the 5DMk2 and which has had very public problems with the top of the line 1DMk3. Back in April, there was only a single full frame Nikon camera, the D3. So after a bunch of deep breaths, that’s what I decided to buy.

Likes

So far, I am really happy with the camera. It is sensitive to light in a way that goes even beyond what my eyes normally see (unless I am really careful). As an example, at a recent Flickr get together, I took a shot of some chairs up against a red wall. When I looked at the picture on the back of the camera, there was a definite gradient in the lighting, but neither I nor several people that I asked saw the gradient without the benefit of the D3 picture.

When I was in Prague back in July, I was able to take a number of night shots completely hand held. Ordinarily, I would have had to use a tripod for many of these, but these shots are more than passable for handheld.

As far as image quality goes, I am very happy. I am quite satisfied with the sharpness and color rendition of D3 images. The Nikon white balance does a pretty good job, better than the XT’s auto white balance, but of course, that’s not a very fair comparison at all. The biggest thing that I’ve run into is that the exposure really needs to be spot on, because the camera is so sensitive to light, that it is easy to blow out highlights. High ISO performance is really good, and when the noise starts to creep in, it looks much less objectionable than the noise that I’m used to on the Canon sensors. I shoot entirely in RAW, and I’ve brought back both badly over and underexposed shots in postproduction (I’m pushing myself to shoot fully manual as much as possible, and sometimes I forget to adjust). One drawback is that the 12MP RAW files take up around 12-13MB. The D3 eats CF cards very quickly, and I rarely shoot in one of the burst modes. This translates into demands for more hard disk space and bandwidth, and ultimately ends up pushing the computer harder, as Lightroom and Photoshop have to work harder to get all that data into memory and then do all the image processing operations. A Mac Pro is definitely in my future for these reasons, and I don’t even want to think about what this means for people shooting the Canon 5dMk2, 1DsMK3, or the Sony A900, at 20+MP resolutions.

The build quality is fantastic. Everything is solid and well crafted. Even though my hands probably on the smaller side, I find that the camera fits my hands well, and that the camera is well balanced, even with a 70-200 zoom lens mounted on the front. My hands fall naturally on the command dials and the autofocus point selector, whether I am using the main controls or the vertical controls on the grip. All the build quality means extra weight, which is taking a little getting used to, but it is good exercise.

It’s taken me a little while to get used to all the controls, but I much prefer Nikon’s system of using buttons in combination with dials as opposed to forcing me to take the camera from my eye in order to change things in a menu. I’m finding that I’m very quick to make adjustments, with one exception. I still haven’t quite gotten the hang of switching metering modes without taking the camera down from my eye. The control for this is up on the prism housing, and requires a decent amount of force to switch. In some low light situations, I tend to switch back and forth between evaluative (matrix) and spot metering modes, so this is an inconvenience. The alternative is for me to spend more time shooting in manual mode and learning to compensate for how the meter behaves, which is probably a good skill to be developing anyhow.

The autofocus system has performed really well. I’ve been able to accurately track fast moving action, and even in fully automatic mode, the camera finds the correct focus point a high percentage of the time. For portrait work, I still switch to a mode where I can select the focus point, because I just want the extra level of control. The only thing that I have noticed is that under some very low light situations, the camera can take a little while to lock. It’s still not entirely predictable to me when this is likely to happen. I love the huge viewfinder on the D3. I frequently had shots where I framed carefully in the camera, only to have extra stuff creep into the picture due to incomplete coverage in the viewfinder. I like this more than I expected to.

It seems to be conventional wisdom that Nikon’s TTL flash system is better than Canon’s, and based on my experience I’d have to agree. For the most part, I am an off camera lighting guy, but there are some situations, like parties and wedding receptions, where you just don’t have the time to make the adjustments for manual lighting. So far, I’ve found that the iTTL system works better than the Canon system. The D3′s high ISO performance adds to this by allowing you to shoot bounce flash pictures in rooms with much higher ceilings than previously possible.

There are lots of smaller things to like. The battery for the D3 lasts forever. I shot three ballet performances in one weekend, using a big image stabilized zoom in continuous focus mode, on a single battery charge. There was plenty of charge remaining. The other thing that I like is the dual Compact Flash card slots. I like the flexibility of using two smaller cards and overflowing from one slot to another. It means less worrying about managing cards in high volume shooting situations.

Dislikes

There’s one major thing that I have found that I dislike. On Canon’s you can switch between Aperture Priority and Manual modes, and have two different aperture settings. This makes it easy to have a set of manuals setting for strobes, and then flip to Aperture Priority for natural light. On the Nikon, whatever Aperture you set, will be the same for both modes. So if you are at f/8, 1/250th in Manual, but need to shoot at f/2.8 in Aperture Priority, when you switch from Manual to Aperture Priority, you’ll need to also switch the Aperture to f/2.8. And when you go back to manual, you need to go back to f/8. I can understand why it’s designed this way, but for the way that I use the camera, it’s something that I miss from the Canon.

Another dislike (well, I don’t mind it that much) is that the shutter snap on the D3 is pretty loud. Back in May I spent a day shooting with some wedding photographers. Almost all of them were shooting Canon 5D’s, and a few people exclaimed over how loud the shutter was. I guess that Kevlar shutter is going to last.

The D3/D700 start at ISO200. You can get down to an ISO 100 equivalent, but its an extension. If you are outside trying to knock down the Sun with strobes, ISO200 is one stop higher than you want to be. This is one area where the 5D/5Dmk2 have a nice advantage — you can get down to ISO50, 2 stops better. I guess you can always bring more watt/seconds, but it’s kind of a pain. Or you could use something like RadioPoppers to get your sync speed up several stops.

It’s annoying that Nikon didn’t put the dust shaker from the D700 into the D3. I’ve learned to clean the sensor myself, but it is annoying. On the other hand, even people with dust shakers need to have their cameras cleaned periodically, so maybe it’s just not that big a deal.

Some shots

This is an awesome camera – so if you see bad shots from me, you know it can’t possibly be the equipment.

1.0′s

The Chandler Project – Chandler has gone 1.0, so if you were put off by the version number, you can take it out for a spin. There are some good posts on the Chandler blog that describe how people are using it.

Django – Just today, the Django project had its 1.0 release. This is pretty important because there were a lot of changes in the subversion trunk that weren’t in the packaged builds. That’s all be done away with now. I expect that this will lead to even more Python webapps.

Tools

DTrace – DTrace is 5 years old today, and Bryan Cantrill has a good war story from that time. It’s amazing to me that something as good as DTrace can be around for 5 years, and still be relatively unknown. If you are on Solaris, OpenSolaris, or Mac OS X, go check it out.

Ubiquity – Ubiquity is like Quicksilver integrated into Firefox. It’s emphasizing the natural language aspects of that kind of interface. There’s also pretty good documentation on how to build additional commands, which is really important. There are extensions for Quicksilver, but there aren’t a lot of them. There are already a lot of third party Ubiquity commands. I really wish that Ubiquity could talk to other applications besides Firefox, but there are pretty nasty security problems down that path. Some of the commands are very Google oriented, like the mail and calendar, which makes it less useful for people like me who are still using desktop applications. In an event, I think that this is worth watching carefully. One unintended side effect might be additional pressure for page/application authors to embed machine-readable content (yes, that you, microformats, at least in part) into more pages. We’ll see.

Chrome – There’s a lot of buzz about Google’s Chrome browser. Since it doesn’t run on the Mac, I don’t have much to say. I’m not about to install Windows or fire up VMWare just to run a browser. One day the Mac port will be done, and then I’ll have a look. I am encouraged that the development team is doing a real Mac native experience.

Dynamic Language Runtimes

It’s been exciting to watch the progress in JavaScript runtime engines over the last few weeks. First there was Mozilla’s TraceMonkey, which is a tracing based JIT, which delivered some very impressive speedups, despite the fact that it still has cannot deal with recursion. As part of Google Chrome, a team lead by StrongTalk/HotSpot lead Lars Bak has done a JavaScript JIT called V8, which is also turning out some very impressive numbers. And of course, the SquirrelFish engine for WebKit was turning in pretty good numbers a few months back. This is great progress for JavaScript — it’s less so for the web because of the variety of deployed browsers. It’s exciting to watch the various JavaScript runtimes leapfrogging each other. It gives me the sense that JavaScript is really making some serious moves on the performance front. Of course, none of these folks are comparing their execution times to C or C++. I’d like to see those comparisons as well. It’s also great that all three of these engines are open-source, so that implementors of other languages can evaluate the internals of these VM’s. I’d love to see this kind of leapfrogging in the Python and Ruby communities.

Cameras

I’m not as interested in the camera body arms race as I once was. The Canon 50D is an upgrade of the 40D, but I’m not really sure that more pixels is better. The telltale feature on the camera is the autofocus system, which hasn’t been given much of an upgrade. That signals to me that the 5DMkII will not be the all out upgrade that many are hoping for, but what do I know? The Nikon D90 sounds cool if you want to shoot video. I have enough problems with still pictures.

I am interested in the Nikon P6000, point and shoot, but I am seriously annoyed by the NRW proprietary RAW file format for the camera. Everything about the camera seems awesome, especially the ability to do off camera flash, both iTTL and manual. The RAW thing is going to be the determiner for me. I won’t buy one unless there is Lightrooom/Adobe Camera Raw support for the camera. OS X native support wouldn’t be bad either. As a new Nikon owner, I am unimpressed by the NRW decision.

Travel

September is a heavy travel month for me. I will be in Birmingham, UK for PyCon UK, from Sept 12-14, and I’ll be at the JVM Language Summit from Sept 24-26. As always, stop by and say hello if you will be at one of these events.

It seemed like things were going in one ear and out the other, partially because I didn’t have a good idea of what I was trying to do or why. That made retaining the “how” pretty difficult.

I recently picked up The Creative Digital Darkroom by Katrin Eismann and Sean Duggan. This is the first Photoshop book that actually tries to walk you though the reasoning behind why you are doing what you are doing, and that does it in language that can be understood by someone with zero darkroom experience. I really appreciated the emphasis on the creative aspects in the middle of all the pictures of curves, layers, layer masks, and all the usual Photoshop stuff. The book is very recent, so it covers Photoshop CS3, and in places where Lightroom can do the same thing, there is coverage of Lightroom as well.

My skill level is such that the two chapters (out of 10!) “Toning and Contrast” and “Dodging, Burning, and Exposure Control” will probably keep me busy for a good long time. I am sure that as I start to apply some of these principles, I will grow into material in the other chapters. But for now, I am happy to have what feels like a basic footing that I can work from. Now all I need to do is spend some time making images good enough to process a lot.

So how does Davis’ work stand up when compared to Peterson’s? The basic sections are strong, and either book is fine in this respect. I think that Understanding Exposure has more of an emphasis on the creative aspects of photography, and does a better job of helping the reader understand how to achieve particular creative effects by manipulating exposure. In particular, for beginners, Peterson gives stronger guidance on specific values for apertures and shutter speeds, that can be helpful to people that don’t have much of a background.

On the other hand, I think that Davis has a much better section on understanding and using the in-camera light meters. I have the revised version of Understanding Exposure, which is updated for digital cameras, but Light & Exposure for Digital Photographers is really much more up to date for the digital age. There is a good discussion on ISO, and how to use ISO as part of the exposure control. Along with that there is an excellent discussion on noise and the use of noise in the creative process. I was glad to find some treatment of white balance. One of the easiest ways to pick out inexperienced photographer’s pictures is to look at the white balancing of the pictures. There is also a chapter on post-processing and RAW processing, a topic to which entire books are devoted, but I think it is helpful for people to understand the role of post-processing in the digital age.

As you would expect with a photography book, there are lots of pictures. As I mentioned, Davis’ preference in nature subjects is close to mine, so I really enjoyed the pictures, and there is lots of commentary accompanying each photograph. The photos in Peterson’s book are more diverse in subject matter, which is probably better from a teaching point of view.

At the end, though, I like both books. For the stage that I am at photographically, I have a slight preference for Peterson’s Understanding Exposure. I am working hard on the creative aspects of my photography, so I am in a frame of mind to be biased towards Peterson’s treatment. Light & Exposure for Digital Photographers is also a very good book, and I would have no problem recommending it to a beginning photographer. I certainly got something out of reading it (and probably could stand to read each book a few more times). The subject matter in these books is so important that one of these two books should be included in the box with every DSLR sold.

My favorite book on photographic composition was Photographic Composition by Tom Grill and Mark Scanlon. At least it was until I read Michael Freeman’s The Photographer’s Eye: Composition and Design for Better Digital Photos.The entire first chapter is all about framing, which is the most extensive treatment that I’ve seen so far. In addition to a treatment of the usual compositional elements, there’s also a chapter on design basics, which I definitely needed some help with (and probably still do). Perhaps the best chapter of all is the last one on process, where Freeman walks through a case study or two, showing how he prepared and then composed a picture in a photojournalistic setting. Learning someone else’s thought process always seems to yield a bump up for me, much more so than just learning the straight mechanics.

Of course, with all things photographic, it’s not enough to read the book and understand it. The trick is putting it all into practice.

Update: PyCon pictures will be tagged “pycon2008″

Several other reviewers, including David Hobby, reported getting the book and then staying up way too late reading it cover to cover. I was sorely tempted to, but there was just too much information to do that. There’s an enormous amount of content and when I finished I was grateful for all the experience that I had just run by my eyeballs and brain. This is a book for working shooters, and if you don’t put the stuff to work, you won’t really get the value out of the book. The challenge for me, and I suspect many others, will be translating these short pithy lessons into a part of our regular photographic practice. Since we’re reading a condensation of 30 years of Joe McNally’s life, there’s no telling how long that will take. But at least now we have something that we can turn to periodically to remind us.

Even better, McNally has started a blog that picks up where the book left off.

Blog: subscribed. Book: highly recommended.

So on Sunday, instead of shooting in an underground garage, Chase arranged for us to shoot in Hangar 30 at the old Sand Point Naval Airfield, which is now part of Magnusnon Park in Seattle. This was a very large event for us, 50+ phtographers, 12 models, and almost all of Chase’s crew. There were at least 16 separate lighting setups, ranging from single speedlight on sync cords all the way up to several big studio strobe setups, and everything in between. I was involved in organizing the shoot, trying to make sure that we had enough setups (this is complicated because of all the different wireless trigger systems), and arranging for enough models. It looked like there was going to be so much organization required that I basically resigned myself to not taking any pictures myself. It’s a testament to the nature of the Seattle Flickr community that the setups did end up self organizing (after a bunch of on-line pre organization), and Jennifer stepped in and took over the management of the models during the shoot.

There’s a video of some of the shoot highlights

and you can see all the shots here.

We had several surprise guests, including David Hobby himself, as well as my friend James Duncan Davidson, which made for a great deal of fun. Both David and Chase have written posts about the event from their perspectives (David’s post, Chase’s post – Chase’s folks have done a cool video also.), and Duncan has written his perspective as an “outsider”. After the shoot was over, we all went back to Chase’s studio for conversation as well as many rounds of Guitar hero. Here’s a summary from the Flickrites’ own Guitar Hero, Danny Ngan.

I feel very, very fortunate to be a part of this community, especially at this stage of its development. It feels very much like it did when I got involved in the (relatively) early days of the Apache Software Foundation. There is an incredible amount of energy, sharing of knowledge and equipment, and the blossoming of friendships. The last five months have been wonderful – I almost can’t imagine how things will be a year from now.

Since people stepped up to help, I did end up shooting after all. Seattle wedding photographer Sarah Rhoads and I were working with a model who had a formal dress that could pass as a wedding dress. I want to try my hand at shooting some weddings, so this was a perfect opportunity to do something that would be close to a bridal portrait session. After a break to allow other people to shoot on our setup, I wanted to do a different setup and pose, so I started messing around with equipment, digging in my bag, etc. The next thing I know, Chase is like “do you want me to hold a light or something”? For the next 15 minutes, Chase (and sometimes his assistant Scott) held my lights, suggested a setup change, and just generally worked with me. It was amazing just watching Chase and Scott adjusting the lights even before I could tell them what adjustment was needed. It was a great opportunity, and gave me a whole new perspective on how professionals work, and how attuned it is possible to become.

Here’s one of the shots from that session:

Be sure to check out Duncan’s “making of shot” which is embedded in the comments.

Thanks to Chase, David, Duncan, and all the Seattle Flickrites!