Is There Life Outside The Cubicle?

February 24th, 2010

If you could work outside the cubicle, what would you really like to do?

I’ve asked myself that question repeatedly. As a fresh engineering graduate in the late 1970s, my answer was playing music onstage. I wrote and performed alongside engineering jobs until the mid-1980s, when music got to be too much of a hassle. I still miss it sometimes, like an old lover.

Then I started looking for that ideal job. You know, the one where your staff always goes beyond what you ask for, and management approves your most interesting product ideas. I looked in Silicon Valley, and in Colorado near the Front Range. It took me way too long to figure out there’d always be non-ideal stuff to put up with.

After my last design job ended in 2003, I started photographing wildlife. I went to places like Antelope Island State Park, Hardware Ranch Wildlife Management Area, and Bosque del Apache National Wildlife Refuge looking for animal behavior to capture on pixels. After some print sales, a bunch of article rejections, and a few published pieces, including one in a national magazine, I decided to pursue plan B.

  Pronghorn, Antelope Island State Park, Utah
 

I started writing articles, white papers and other content for technical clients. Engineers, management and executives are too busy to write most of the stuff with their bylines. They hire people like me with technical backgrounds to do it for them. In between writing stories there was a stint as a software applications engineer. It reminded me of how much I hate corporate ego games, no matter how good the pay is.

The writing business began to dry up last year.

So I stopped and asked myself what I really wanted, after doing what other people wanted or expected of me for so many years.

That made me seriously consider escaping the office.

My wife pointed out that I sometimes know as much about National Parks and Monuments we’re visiting as the rangers do, and I love these places. After not taking her seriously for awhile, she convinced me to enter a well-regarded program in Park Management at Saratoga, California’s West Valley College.

Consider all the skills you need as a park ranger or wilderness tour leader. Navigating the territory is a small part. If somebody gets hurt out there, the ambulance may not arrive for days, if ever. You need solid wilderness first aid skills for anything from diabetic emergencies to full-thickness burns, frostbite, and arterial bleeding. You and your party may have to survive a midwinter night out if you get too far from camp close to sunset.

You may also have decide what to do about non-native plants the native animals have come to rely on, or how much restoration of cultural artifacts like ruins is OK. Maybe you’ll get to develop an interpretive program for visitors, and present it to them. You may also work a fire line, or report illegal marijuana fields in the backcountry.

It’s a lot more than wearing a uniform and Smokey the Bear hat. I hope for a job doing interpretation. Instilling respect for the resource is a must in today’s disposable, over-packaged world. But I also want to use my knowledge and career to advocate for a responsible answer to the question, “Where does it end?”

The good news is that the park management job picture, already pretty good due to the growing number of baby-boomer retirees, should be even better when I finish the program in two years. Meanwhile, I hope to build my skills and connections with summer work for local agencies.

Shot Notes -
I’d gone to Antelope Island to photograph bison in December, when males are playful and not fighting over mates. I was packing up when I noticed this group of shy pronghorn antelope munching sage and grass fifty yards away. I captured a couple frames with a 500mm f/4L IS lens and 1.4X teleconverter before they glided away. Equivalent full-frame focal length was 910mm on an EOS 1D mark II. Light was soft and overcast, so contrast was easily within the camera’s range.

Some Beef In The iHype

January 28th, 2010

Apple’s products have been poster children for elegant design for many years. The iPad has several things an ebook reader, web surfer, and video appliance need, but some glaring omissions crash it.

Its 1024 X 768 screen isn’t natively compatible with 720p HD at 1280 X 720. For a device that’s touted as a deluxe video/movie/TV program player, that’s a huge oversight. Yes, you can play H.264 video encoded at 720p, but it won’t be full 720p resolution on Apple’s screen.

The lack of Flash support is also pretty bizarre for a web-surfing device like iPad.

There’s no word on compatibility with Kindle books or book files from Barnes & Noble, but I’m betting the iPad will only support downloads from the iBook store. However, I’m sure there’ll be a hack for Amazon and Barnes & Noble book files before too long.

There’s only indirect mention of networking compatibility with OS X and Windows computers, but this is a must for any machine with limited mass storage like the iPad.

Still, the UI looks very good - flipping pages with your fingers like a real book is cool. I guess haptic feedback on the touch screen was too expensive, and I agree an SD card port and user-replaceable battery would have been nice.

With handwriting recognition and audio recording, the iPad would become a must for any college student taking notes. I’m surprised a company like Apple with a historic presence in the education market didn’t see this and add those features.

As a lightweight laptop replacement for a photographer in the field, it may be a winner. If the software supports it, you could use an external card reader to upload image files to the iPad for later transfer to your PC. If there were a version of Lightroom for it, you could sort and edit pictures on it too.

You’ll at least be able to transfer pictures directly from your camera with Apple’s add-on camera kit.

It looks like this product announcement was an attempt to preemptively capture the market, though that’ll be tough for a device that won’t be available for 8 weeks.

Chocolate, Cameras And Cornbread

January 26th, 2010

Dark chocolate with over 85% cocoa content, 40% of it solids. Seven different flavors of spicy molé sauce. Soft, creamy Brie. And free samples of all of it.

Add several hundred people over three days, and you have the recipe for the 35th Winter Fancy Food Show at San Francisco’s George Moscone Center last week. I went to discover new trends in food, and talk to vendors about my photographic services.

 
Marie Calender's booth, 35th Winter Fancy Food Show
 

Dark chocolate bars from Colorado and Ecuador, goat cheese, and many shapes of pasta were all popular favorites. I’d been warned about the samples - you’d be very tempted to break your diet just with chocolate. New products included Happygoat’s caramel made from free-range goat milk. It had a much smoother texture and better flavor than ordinary caramel made with cow’s milk. I was also impressed with the flavor of Popchips’ potato chips, made without frying or baking.

I started out looking at the vendor list for health food and organics, but ended up just stopping at booths where vendors’ badges showed California locations. I asked about the chocolate or cheese or sauce to discover a little about each product, then asked, “Do you use food photography?” That usually led to discussion of needs and an exchange of business cards. Mine show some of my food work on the front and back, along with contact information.

After tasting some molé that stood up very well against memories of fantastic molé at the Red Iguana in Salt Lake City, I wandered over to the organic and health food section of the show. I left my card with several cheese makers and a teryaki sauce specialist.

I don’t usually carry a cell phone, but I had mine with me on vibrate since I’d been expecting to hear from my wife. With about 20 minutes before the show closed for the day, I got a call from a number I didn’t recognize. It was a vendor I’d left a card with earlier in the afternoon. The vice president of marketing for Marie Calender’s needed booth photography, and how much would it be for me to do it on the spot?

Photography at the show wasn’t permitted. At one point, an usher told me to put my camera away. But that didn’t stop me from carrying one. I explained to the vice president what I could do with the equipment I had, and said I could come back next morning with lighting for a more professional shot - at a higher fee. He said doing the shot now was fine, and told me he wanted a picture of the entire booth. I had him clean up and hide what he didn’t want in the picture. Then I took the shot he requested, plus a few other compositions that looked good to me.

He liked what I showed him on the LCD of my camera, a Leica M8. After agreeing to show him proofs online in the next day or so, we shook hands and left.

 
Marie Calender's booth, 35th Winter Fancy Food Show

 

I post-processed to approach the light effect from strobes and light modifiers, darkened some distracting areas that competed with the subject, and cropped one shot slightly to eliminate the ceiling and its lights.

The VP liked the online proofs and requested high-res copies of two pictures, which I emailed the next day. He also said he’d be calling me for food photography for their next new product release.

I love it when I make a customer happy.

Shot Notes -
A 25mm lens on a Leica M8 gives coverage of a 33mm lens full-frame, and tons of depth of field at f/5.6 or f/8. I used ISO 1250, braced on tables and wall supports, and over-exposed slightly to reduce noise in shadow areas.

Great Upgrade or Waste of Money?

January 7th, 2010

Many of us look through virtual store windows like little kids staring at video games. We salivate over new stuff, sweaty hands on credit cards, even when we’re unemployed. Most of the time, we already have last year’s model operating perfectly.

When is it time to upgrade?

Canon just announced the EF 70-200mm f/2.8L IS II lens. It released the updated EF 16-35mm f/2.8L II last year, along with a new EF 24mm f/3.5L TS-E II.

Canon revamped its digital SLR line with four new models in the last 18 months. One of them, the EOS 5D mark II, replaced a model that was 4 years old. The 5D mark II offers a self-cleaning sensor with much-improved noise reduction and almost twice the resolution, plus four times more dynamic range. It also offers full-frame HD 1920p video, originally a competitive marketing feature unused by many of us.

But new gear doesn’t make your old stuff stop working. In fact, Canon’s other new dSLRs seem evolutionary compared to their predecessors. I never upgraded to the EOS 1D mark III since it just didn’t offer enough improvement over an EOS 1D mark II I still use.

 
Pasta Parmesan

 

This image was made with that camera and Canon’s original EF 70-200mm f/2.8L IS (not the II). I’ve used that lens with a variety of cameras including my 5D mark II, which reveals all the warts and defects (aberrations for you physics majors) of any lens you mount on it.

I’ve yet to see anything I couldn’t live with using the original EF 70-200mm f/2.8L IS for food, commercial portraits, pro mountain bike races, and wildlife. My philosophy is getting it right in the camera, since I don’t particularly enjoy endless tweaking in Photoshop. That lens delivers the raw image quality I need.

On paper, the new 70-200mm f/2.8 II looks very similar to the original - same number of elements with different grouping, slightly closer focusing, same weatherproof construction, same 77mm filter diameter. It’ll probably cost more.

I also have the original 24mm f/3.5L TS-E. The new one has some nice new features for combining lens tilts and shifts. But I don’t combine the two. In fact, most of my architectural work uses shifts alone to correct perspective.

 
Campbell Heritage Theater, California

 

The 24mm f/3.5L TS-E II’s enhanced corner sharpness would be nice, but I can’t justify spending $2200 for it.

So where does that leave us?

These new Canon lenses may show improvements, but without obnoxiously nasty behavior in the originals, it’s hard to justify replacements.

Commercial photographer Kirk Tuck once told me not to be an equipment junkie, that I could make salable stuff with a Yashica MAT 124 as easily as a high-bucks Leica. For commercial clients, I use better equipment than that old Yashica, but usually stop short of Leica.

After all, your unique contributions to any client’s projects are creative shot design and lighting, not the tools you use.

The Only Time For Yosemite

January 4th, 2010

Yosemite National Park is most people’s vacation of a lifetime. All the superlatives apply to the favorite park of John Muir and Ansel Adams - vertical granite, snowy peaks, endless evergreen forests, quiet winding rivers. Most of those visitors will see it in the summer high season, when Yosemite Valley looks like an anthill somebody just kicked over.

Yosemite Valley south wall, December

 

There’s a much better time to enjoy everybody’s favorite park. In winter, most of the tourists are gone. You can actually contemplate the best vistas on foot, or get out and see the ones no one ever sees from cross-country skis or snowshoes.

 XC Skiing near the Glacier Point Road

 

If you’re short on time during one of your days, try skating beneath the Valley’s walls at the Camp Curry ice rink. Even between Christmas and New Years, crowds shrink to manageable proportions.

 Skating at Camp Curry ice rink, Yosemite

 

Everyone photographs the same iconic views in Yosemite. I always challenge myself to capture something different, especially since I’ve been there so much over the years.

The hand of man disappears under winter snow and fog, the cars drive away, and you begin to see Yosemite as the Ahwahneechee Indians saw it 200 years ago.

  Wawona Tunnel View - full-moon foggy December 

See all the pictures here.

Shot Notes -
Yosemite gets dark in winter, so you’ll be using long shutter speeds - bring a tripod. I could also have used my tilt-shift lens for undistorted pictures of granite walls. The tripod was a must for the moonlight shots from the Wawona Tunnel View. A late-model dSLR like the EOS 5D mark II gives you high ISOs without too much digital noise. You may also want a prime, non-zoom lens for shots into bright light sources like the full moon. With fewer glass elements, primes are much less likely to flare than zoom lenses.

Breakfast With A Chance of Pasta

December 29th, 2009

Eating food and photographing it are two different things. You know what tastes good, but how do you get it to look good?

 
Fruit breakfast

I started with a loose idea of a pasta shot for a potential client. Before my wife (who’s also a professional food developer) had finished preparing the pasta, I put together some stand-in food, chose a camera angle, and started lighting.

Hard-edged shadows can be distracting. A picture of your spouse with the unmodified flash on-camera won’t win you any points, especially if there’s a wall right behind them. Grow the light and use it close, and the shadows soften. That’s made softboxes a very popular light source for the last 30 years.

Those shadows need to be where they won’t distract the viewer. They also need to show off a food’s texture. Shadows show depth in a photograph’s two dimensions, so you gotta have some soft ones.

It’s not the way you light portraits - food looks better when the main light is behind it or to one side. So I set up a 2X3 softbox to the back left for my stand-in fruit breakfast. I added a specular highlight with a mirror and filled with a reflector on the left. I also lit the top of the orange juice glass to make it glow and give a shadow gradient to the background.

The fettucine and bread were both ready at this point, so I slid them in and adjusted my lights a bit. I started with two plates to separate bread and pasta, and also to give an art director more pictures to choose from. I put the bread together with the pasta, the way the rough layout diagram called for, but I felt something else was needed. So I added a fork.

 
Fruit breakfast

I liked the high-key shot, but I still felt it was a little stark. And the holes in the bread bothered both of us. We’d run out of time for one day, so my wife put the pasta plate in the fridge to use for tomorrow’s stand-in.

She liked the way the pasta looked in there - nice texture from the single light in back, and fill from the white walls of the fridge. So I re-created the light with a softbox over and behind the pasta, a white reflector to the right, and the white paper background all the way to the floor. I added specular highlights for life and appeal. My wife thought the white plate needed a contrasting background, so we added a wood-textured placemat. With one more light to bring up the mat’s foreground, I was ready to go.

 
Fettucine and garlic bread

Shot Notes -
I used small strobes for all lighting, and triggered them optically from the camera. They’re a lot easier to set up and use than studio strobes and power packs. Grids and mirrors focused light for specular reflections, and a Stofen diffused the light in the 2ft X 3ft softbox. I took the breakfast fruit picture with a 24-70mm lens at 70mm. I switched to a 70-200mm at 200mm for the pasta to get the deep red background wash. All pictures were with a full-frame digital SLR, so I got what I’m used to from my 35mm film days.

What You Should Never Do Before Takeoff

December 7th, 2009

We got up at 0-dark thirty for an early flight from San Jose, California to Albuquerque. After the usual wait-in-your-socks routine at the gate, we found our seats.


Silicon Valley Takeoff

At this point, there are a few options. You can try to sleep in your seat, strike up a conversation with your fellow passengers if they’re awake, pull out your novel and start reading, or pull out your cell phone and tell the sales rep at the other end that your plane’s going to be late.

I can’t sleep on airplanes, so I usually pull out a camera and look for slices of airport life. There are a few things I watch for:

1. Baggage handlers loading planes, hot-rodding baggage carts or talking to each other
2. Other airplanes taking off or landing (this gets exciting if they’re really close)
3. Strong lines and shapes from aircraft tails, airport towers and terminals
4. Young passengers peeking around the seat ahead of me while they wait
5. Unusual light or shadows
6. A clean window to shoot through (scrubbed with my sleeve if necessary)

I try to reserve seats away from the wing on the side that’ll be away from the sun during the trip. This minimizes glare and gives me a clear view out the window I’m shooting through.

 
San Jose Airport foggy morning

This time, fog blanketed my view and gave a dreamy quality to the (unavoidable) wing, lights, and other planes. I put on a normal lens (45 degree angle of view, the middle of most small cameras’ zoom range) and started shooting.

The best aerial photo ops come near takeoff or landing, when the plane is closer to the ground. I prefer late fall or winter sunrises for their long-lasting light and color. I got stuck with the wing, so I used it to frame my pictures and reflect the sunrise. The fog dimmed the sky for a better exposure match to mountains and suburban sprawl on the ground.

The pre-takeoff picture didn’t have as much color as I usually like, so I rendered it in black and white. After takeoff, the orange sky painted wing and ground textures to make them worth looking at.

So what should you never do before takeoff?

Never worry about flying.

You carried on your laptop and cameras (you did, right?), so all the expensive stuff won’t go to Missoula or Syracuse with the rest of the lost baggage. You got on the plane with your business associates, wife or friends, so you’ll all arrive at the same time. Most pilots flying routes between major hubs get paid well enough to do a safe job.

So relax and enjoy it. If something happens there’s not too much you can do anyway, except keep shooting all the way down.

See the rest of the pictures here.

Shot Notes -
For travel, I pack the camera equipment in a Think Tank Airport Security v2.0 rollie bag. It fits in all U.S. domestic carriers’ overhead bins, and saves my back from a 40+ pound load. On planes, I shoot with a Leica M8 and 35mm f/2 or 50mm f/1.4 lens. The Leica is smaller than my EOS SLRs, so I’m not crowded by equipment in Economy Class seats. A cheaper alternative would be something like my wife’s Canon G10.

With dense fog, you’ll be enhancing contrast in post with Lightroom or Photoshop. In Lightroom, play with the Shadows, Darks, Lights, and Highlights sliders. Sliding Shadows and Darks negative usually improves a flat picture. Adding Clarity may also tease out more detail.

Foreign Travel In Arizona

November 28th, 2009

 Hubbell Trading Post, Ganado

So what do you do after Canyon de Chelly?

Our next stop was Albuquerque, and that pretty well dictated our route from Chinle - U.S. 191 south to Arizona/New Mexico Highway 264, then a short dogleg south on U.S. 491, through the heart of the Navajo Nation.

There aren’t many paved roads here - in fact, there doesn’t seem to be much of anything. But whites and Navajos connected throughout this territory in the 19th century. One of the most beneficial connections came from John Lorenzo Hubbell.

Hubbell bought the trading post that bears his name in 1878. The Pueblo Colorado Wash brought water to the site, making it an important gathering place in the town of Ganado. Hubbell was a natural at business, expanding his stock beyond tobacco, tools and food into wool, sheep and other livestock, rugs, jewelry, baskets, and pottery. He had a major influence on Navajo weaving styles, especially the Ganado-style rug’s diamond pattern on deep red.

Hubbell advised his trading partners on what goods fetched the best price, and suggested they produce things suited to their talent and inclination. His mutually-beneficial trading philosophy made him quite successful for many years. He died in 1930, but the trading post stayed in the family until 1967, when Dorothy Hubbell sold it to the National Park Service.

Hubbell Trading Post still operates today, though a Park Service superintendent once groused that he felt like he was running a grocery store. But there’s much more than food, in keeping with the post’s trading business. You can see wagon harnesses, riding tack, bolo ties in fine silver and turquoise, Hopi Kachinas, and Pueblo pots along with the portraits of presidents who stayed in Hubbell’s guest house.

Window Rock Memorial

 

Window Rock is further east, near the Arizona-New Mexico border. The capital of the Navajo Nation gets its name from the distinctive hole in a sandstone fin near the site of the capitol buildings. The site has a monument to Navajo code talkers who played a vital role in covert radio communication during World War II. There’s also a memorial to all the warriors who made the ultimate sacrifice in armed conflicts.

A fountain trickles water from sandstone masonry to a reflecting pool, a beautiful place to think about issues in your own life and what sacrifice means to you.

It was a peaceful ‘time out’ from an active vacation.

Rustic Elegance In Southern Colorado

November 24th, 2009

I was riding shotgun with an eye for rural scenery when the gently rolling fields and Rocky Mountain backdrop told me ‘full stop’. “I really like that ranch house and the wheel line sprinklers. Pull over right… there.”

 
Paxton Ranch outside Durango, Colorado

People have farmed and ranched in southern Colorado for hundreds of years. This scatters irrigation ditches, stone granaries, barns, and wheel sprinklers across yellowed pastures. Add a mountain backdrop and you have incredible photography.

I try to work under the radar, but I can be a photographic spectacle, especially in these days of tiny digital point-and-shoots. I’m usually the only guy with one or two pro cameras and two or three lenses. Sometimes this can help.

I took the shot I’d seen from the highway and was looking for different compositions when a pickup from the ranch next door drove down a long driveway. The driver started talking to my wife about what we were doing there. When he discovered we were photographing his neighbor’s ranch, his reaction was, “Why not shoot mine instead? Come on down!”

And that’s how I captured close-ups of frame buildings and machinery on the Paxton Ranch. Dan Paxton talked with my wife Pat while I photographed in great autumn afternoon light, and appreciated rural friendliness I was unused to in the San Francisco Bay Area.

The town of Durango was a regional processing and transportation hub for gold and silver ore in the late 1800s and early twentieth century. The Denver & Rio Grande Western Railroad Company planned and laid out the town in 1879 as a depot for ore smelting. The town got its own grand hotel in 1887, the Strater. This elegant Victorian lodging is still open and comfortable today.

 
Strater Hotel room interior

We stayed at the Strater when we got to Durango. The tourist Durango and Silverton steam railroad runs just west of it. When the train whistle blows before departure, you can almost imagine yourself in another century.

Even if you don’t stay at the Strater, have a meal at the hotel’s Mahogany Restaurant. Everything is tastefully spiced, and the dessert choices will almost make you wish you’d skipped dinner.

See all the pictures here.

New Features For Old Strobes

November 24th, 2009

Radiopopper’s JrX promises 128:1 manual flash output adjustment with wireless triggering. For most professional and semi-pro photographers on location, that’s a big deal, especially over long distances and through wooden walls.

There’s just one catch - the JrX needs a trigger adaptor called an RPCube to work with Nikon or Canon TTL strobes. Radiopopper told everyone RPCubes would be ready in 6-8 weeks - and that was last August. So far, still no RPCubes.

But it turns out you can make your own - at least for Nikon strobes.

I wasn’t sure just how compatible my old Metz 32MZ-3 / SCA3402 strobe was with Nikon’s flash protocol. Turns out it’s very compatible - my own DIY Nikon RPCube works fine with my 32MZ-3 / SCA3402.

I was a Nikon user, but sold everything Nikon when I switched to Canon in 2003 - except the Metz 32MZ-3 / SCA3402 and an old Nikon SU-4 TTL optical slave. I also had an SCA3501 base for TTL with my Leica M film cameras, another reason to keep the 32MZ-3.

But the SCA3501’s TTL mode doesn’t work with the M8, and the 32MZ-3’s single manual power level isn’t very useful.

The JrX changes everything. It works with the M8, or any camera with a hot shoe.

Variable manual power with old TTL strobes and Leica M8

To get variable manual power, be sure to switch the 32MZ-3’s mode to TTL to allow output control from the JrX transmitter. The JrX gives 1/1 - 1/128 power variability to any compatible flash. The 32MZ-3 has just one power level in manual mode, so that’s a big deal - it’s like getting new features from a firmware upgrade.

With my old Wein Safe-Sync underneath the JrX transmitter, it mounts on my flat-topped Leica M8.

So I have wireless sync and variable manual power with a compact Metz strobe and an M8. It’s the strobist’s ultimate light-weight setup.

Technical Notes -
TTL = Through The Lens, a camera’s ability to control flash output with through-the-lens exposure metering. It first appeared on Nikon flashes and cameras in the late 1980s. I can still remember Galen Rowell’s description of it in his Outdoor Photographer column “The New Fill Shooters”. That column appears in Rowell’s book Galen Rowell’s Inner Game Of Outdoor Photography, pp. 98-102.