Eastern State Penitentiary
I had the opportunity to visit the ESP on my way to the Art in Nature Festival where I am presenting Color Management and Workflow.The ESP invites artists to create work that address ESP's themes—including issues of crime and justice, architectural history, and the site’s fascinating past. Ruth Scott Blackson is one of the artists who has created a fascinating piece of work entitled No Trace Without Resistance
As you can see from the image, Ruth applied new paint chips, coated in gold leaf, to the flaking walls of this cell. Quote from the ESP site "In the resulting “shimmering constellation,” sunlight on the installation may entice the visitor in the same way an inmate may have been forced to concentrate on the walls during solitary confinement. The prison’s neglect reveals something surprising and rare underneath."And the as you walk through the cell blocks - you see cell after cell all in arrested decay. Al Capone - spent his time in a rather elaborate cell - the age old radio still plays.
The other inmates did not have such comfort as you see in the typical cell below.
Though each cell block had a Barber Cell with a centrally placed Barber's Chair there are currently just two that remain.
Like the spokes of a wheel the never-ending corridors of the ESP.
Cape Cod Sky - 10 minutes apart
Join us in October for a grand weekend and photo workshop in Cape Cod - CLICK HERE for details
The Joy of Mirrorless and IR
Typical cameras are designed to capture the visible spectrum. Geting your camera converted to capture IR opens up another world of photography.Keep in mind that IR wavelength is longer than the wavelength range of the visible spectrum and thereby focuses differently. When you convert a DSLR you are limited to certain focus adjustments that must be made so as to achieve the best quality of images with sharp focus. As lenses with different focal lengths behave differently you need to select one lens and have the camera sensor calibrated to achieve sharp focus with that lens. Any other lenses will not be in a position to achieve good focus. Live view can help but it is not the best option.Mirrorless cameras on the other hand rely on the imaging sensor for focus attainment and metering they are able to discern the IR focus shift in real time and adjust accordingly. This feature allows you to use any lens, prime or zoom and capture sharp IR images.In my opinion a mirrorless cameras with no in body image stabilization is a better choice for conversion.Lifepixel is who I use and their service and conversions are exceptional. Click on the icon to get started.
Use the coupon code shivverma50 to get $50 Off with a Priority Processing Upgrade - this coupon code expires on August 6, 2016
Panasonic GX85 with the Leica 100 - 400mm lens
I received my GX85 a few days ago but yesterday was the first opportunity to try it out. The GX85 with the Leica 100-400 is a superb combination. Both these images are considerable crops. There are two recently fledged Downy Woodpeckers, a male and a female who frequent the back yard. I am most impressed with the detail from the GX85 (no anti-aliassing filter) and excellent image stabilization.
Fireworks
The 4th of July weekend is next. The weather forecast for the Greater Boston area looks good so why not try photographing fireworks. In addition to the annual Boston Pops concert and fireworks, the Boston Harbor Fest will also have a fireworks display on July 2, 2016. Here is an excerpt from the festival site: "Various sailors will decorate their boats and light up the Inner Harbor on Saturday, July 2nd. Live music on Long Wharf will lead up to an incredible fireworks display over Boston’s Inner Harbor."Here is a link to my tips page for photographing fireworks.
A US Navy DC3 Cargo Wreck
On Sólheimasandur a black sand beach in Iceland lies the remains of a Douglas Super DC-3 cargo plane that crashed here in 1973. The cargo aircraft was abandoned and is now a tourist attraction. Though not easy to get to, it is a great photo opportunity. It tail section, wings and engines are all gone and its interior stripped.The wreck is most photographed from the side you first see it when approaching the beach but on this evening on August 14, last year the dramatic clouds made an exceptional backdrop for the opposite side of the plane.I am so looking forward to going back this September for another great workshop.
Review of the Platypod Pro Max
A while back I had done a review of the exceptionally versatile and compact Platypod Pro® Deluxe Kit. Now the makers have introduced a follow-up to the Platypod Pro called the Max.Much planning, engineering and fine machining go in to making the Platypod Pro® Max. The Max’s initial form is stamped out of a 5mm thick sheet of aircraft grade aluminum maintaining absolute flatness. Using Computer Aided Manufacturing (CAM), the plate is computer machine precision drilled for all holes and slots. Edges are round-routed and holes either threaded or chamfered to avoid any sharp edges. Key holes slots for attaching the spike screw box are drilled only partway through the plate with very low tolerances to allow easy but firm attachment. These last holes are invisible from underneath the plate.
I have been informed by the manufacturer that the machining quality and workmanship on the Max is so meticulous that despite computer aided manufacturing the factory can only produce 1500 every 25 days!Like the original Platypod Pro the Platypod Pro Max is a sturdy flat mini tripod ideal for low-angle shots and situations where traditional tripods are cumbersome or impractical. It is however, significantly larger, has four spikes/reversible rubber feet rather than three, a belt loop, a single 3/8 inch 16 ball head mounting screw and a 1/4 inch 20 removable stud to mount accessories.
Here is an image captured with the Max set up on top of the stone wall at Tunnel View - Yosemite NP.
Unlike its smaller brother the Max supports ball heads of any size and is rated to support 300 pounds. A 3/8 inch 16 threaded screw hole allows you to mount the Max directly to your tripod as and when needed. Made of aircraft grade aluminum anodized black with beautiful self-explanatory laser etchings, the Max comes in a red microfiber drawstring pouch.
If you already own a Platypod Pro the Max does not replace it, rather it compliments it where situations demand a larger base or when you need to physically move your low lying camera rig across the sand or grass when photographing wildlife.Specifications:
- Base - 6061 black anodized aircraft-grade aluminum. 5 mm thick. 5.25 x 7.75” (5-year warranty—Full replacement of parts for any defect in workmanship.)
- Fiberglass-reinforced nylon removable "bayonet style" storage box mounted onto plate to hold four 1/4-20 spikes, 2 inches long, with heavy-duty rubber feet and locking nuts. Small magnets keep spikes in place for storage.
- Five 1/4-20 threaded holes strategically placed to allow use of spike feet in configurations of one, two, three, or four at a time.
- Two 2-inch belt slots to secure to any cylindrical object or to tape onto floors for remote camera setups.
- 1/4-20 and 3/8-16 accessory threaded holes for attachment to tripods or quick-release devices under the unit.
- 3/8-16 TA2 titanium photographic bolt drilled and countersunk through the plate and welded in place for large tripod ball heads, such as the RRS-BH55, even with spike-feet in place.
- Two non-threaded holes for permanent or semi-permanent mounting to floors, walls, ceilings or panels.
- Weight: 13 ounces, including spikes and storage box.
At approximately 5 x 8 inches it is about the size of an iPad Mini and fits well in any camera case that has a slot or pouch designed to hold a laptop or an iPad. As an option you can use either slot or one of the non-threaded holes and a carabiner to hang the Max from your belt or a loop on your backpack.
As compared to the original Platypod Pro, Max’s larger footprint means more stability. Like the Pro, Max is made of aircraft-grade aluminum with an embedded 3/8-inch titanium bolt. However, it does come with a few features, including a pair of slots that can secure Max via a bungee cord, zip-ties or even your belt to freestanding objects and structures. In the center are 1/4- and 3/8-inch holes to attach Max to quick-release devices, such as the Peak Design Capture Clip, or directly onto a tripod center column. A very convenient 1/4 - 1/4-inch male cross-nut allows attachment of flexible arms, speed-lights and numerous accessories. Here I used a Novoflex Flex Arm and a Lume Cube LED to light the crystal. The camera is a Panasonic GH4 with a 30mm Lumix macro lens. A second 1/4 - 1/4 and a second Flex Arm would be ideal for cross lighting a macro subject.The Max‘s larger base allows use of most any ball head. The RRS B55 is the largest ball head I own and I had no problem attaching it to the Max and all the knobs have adequate clearance. As I no longer use large DSLR’s all my tests were done with Sony and Panasonic mirrorless bodies. Using the Max with an A7RII and the 70 – 200 mm f/4.0 lens was a breeze. I also mounted a Panasonic GH4 with the new Leica 100-400 using a Wimberly SideKick for quick reaction time and maneuverability. When using the Sidekick it is imperative that you remove the holder for the spikes with a simple twist and place the cross-nut in one of the corner positions, out-of-the-way. This gives the sidekick the clearance for 360 degree rotation. The Max supported this rig very well.
With the Platypod Pro you had to be careful mounting heavier gear. It was best to ensure the center of gravity was as close to the center of the Platypod Pro mounted ball-head. With the Max, this is a less of an issue. With a medium or large ball head the Max will comfortably support most DSLRs and mirrorless cameras fitted with normal to long telephoto lenses. A super telephoto lens properly mounted on a good ball head works well too. Here as in the image below I tested it using the RRS BH55 and the Wimberley Sidekick with a Canon 500 mm f/4.0 lens attached to a Sony A7R II using a Metabones IV adaptor.
Similar to the Platypod the Max is ideal great for ground level photography and videography, a mount for action cameras and for creating panoramas. When creating panoramas use a pan/tilt ball head like the Unique as shown below or attach a leveling base (see following image) below the ball head as shown in an image above where the RSS BH55 is mounted on top of the Acratech 1170 leveling base. As the Max is made of a relatively thin aluminum plate it would be difficult to have a built-in level. A third-party bubble level can be adhered to the max or simply place on it to level the Max. When it is necessary to level the Max it is best to use three of the four spikes or rubber ends. Four legs are great for stability but not so for leveling. The Max is best used without spikes or feet when you want to have the flexibility of sliding it in any direction on flat surfaces, sand or grass. When friction is important then the spikes are the best option. In the reverse orientation the rubber caps not only provide friction preventing the base from sliding around but also prevent damage to furniture, painted surfaces, etc.
For surfaces like asphalt, rocks and brick the spikes are your best choice for stability. To attach the base plate to a fence post, rail or tree limb, a pair of bungee cords, straps or your belt work great. All you need is to secure the cord around your object and hook the ends into the slots or holes in the base plate. Belts and straps can be passed through the slots on each side of the Max to secure it to any post, tree trunk or similar object.The Max with its little brother the Platypod Pro have a permanent home in my photography kit. I find I am using these support systems more than using my tripods.More on the Platypod products and their web siteAll company names, products and devices mentioned in this review are trademarks of the respective companies, registered in the U.S. and other countries.
View from the Merced
Although May is a great time of the year for exceptional waterfalls it is not the best time for sunsets. The angle of the light at sunset just does not hit Half Dome rights from the iconic locations such as Glacier Point and Washburn Point. Similarly Tunnel view sunsets are weak compared to later in the year. This is one of two evenings where the light on El Capitan made it worth photographing. (Photographed May 2016 during my Yosemite & Monolake workshop.)
Beaches of Martha's Vineyard
Here are another three images from my Martha's Vineyard workshop last weekend. The image above and the next were captured on the beach at Aquinnah just below Gay Head Cliffs. The last image was captured on the last evening at Menemsha. Menemsha is famous for exceptional sunsets but this was a overcast and stormy evening with no hope of a sunset. Stormy yet so serene. 
Lucy Vincent Beach - Martha's Vineyard
Concluded a great photo workshop in Martha's Vineyard yesterday. A great group of photographers, and some great locations on the island. Inclement weather did not prevent us from photographing the opportunities that were presented. This image is one of my favorites where the last rays of the sun just kissed the rock on the shore at Lucy Vincent Beach. We stayed on to do some light painting and astro photography before winding up for the night. (More images to follow)
Day after New Moon
On a whim I set up the Swarovski scope to its lowest magnification at 30X. The camera was the Panasonic Lumix GH4 set at ISO 1600, and 1/60 sec shutter. The image when clicked on is the full frame from the camera 4680 X 3072 pixels. The adjustments made to the raw file are: highlight recovery of -29, white balance adjusted to 5700 Kelvin (to taste), noise reduction using Topaz Denoise version 6. A a touch of contrast and clarity to finish. All this in the hope the weather stays good and I can get a few images of Jupiter this weekend. I did not use a remote shutter release but will for the Jupiter images.
ND Filters' Color Cast comparison - Vü 10 stop Sion, Lee 10 stop (Big Stopper) & Formatt Hitech 8 stop
The Lee Big Stopper was introduced in 2010 to compete with the Hitech 10 stop filter that was known to have flare and other issues. Subsequently Hitech reengineered their 10 stop filter and emulated some of Lee’s design features. In particular the the light blocking gasket. Soon Lee introduced the Little Stopper while Hitech developed a wider range of solid ND filters the Pro Stop line from 6 to 10 stops and in multiple sizes. Most recently I was introduced to the Vü system and hence this test as a comparison. I will do a full review of the Vü system in the near future.As I own the Lee Big sStopper and the Hitech 8 stop with the Hitech holder (I do prefer the Hitech to the Lee holder) I was keen to understand the differences in the way high f-stop ND filters impart a color cast when used. Hence this test. Please click on the images to see a larger version.The set up was fairly simple. Using a Sony A7R II and a Zeiss Batis 85mm f/1.8 lens set at f/2.0 and a base ISO of 50, shutter speed 1/125 sec. The light source was two Elinchrome studio strobes positioned to give a 1/3 stop exposure variation at the edges. The camera was focused on a white foam-core board with a X-Rite Color Checker Passport clamped to the upper right corner. Camera white balance set for flash rather than a custom white balance (5450 Kelvin) and an "as shot" tint of +9. I wanted to allow for any variation in the white of the foam-core board that is typically not 100% white be adjusted in post.The test exposure was made and the white balance adjusted in post using Lightroom - this is the image below. White balance adjustment yielded a temperature of 4750 Kelvin and a tint of -1:
Next the strobes were adjusted to full power providing 8 additional stops of light. The ISO was adjusted to increase sensitivity by two stops while the aperture of the lens was kept at a constant f/2.0 for all the exposures. Each filter was tested for color cast only.
The Lee Big Stopper (10 stop ND)
The Lee Big Stopper (10 stop ND) was mounted and the image as shown below was captured. This is as a screen shot so as to show the RGB histogram. The info panel shows the reading from the center of the captured image. Values are R=219, G=229, B=243
In this next image the Info Panel shows RGB values from the lower third of the image. Values are R=187, G=203, B=222
Next the image was white balanced in Lightroom WB to 8600 Kelvin and tint +43. Compensated for the color of the board and the lights the calculated readings are 7900 Kelvin and a +35 Tint adjustment.
The Lee Big Stopper exhibits a heavy blue cast in both the center and the edges.
Formatt Hitech 8 stop ND filter
As I do not have a 10 stop Formatt Hitech filter, I chose to do the same test with the 8 stop that I own. As with the Lee filter before, here the info panel shows the reading from the center of the captured image. Values are R=234, G=238, B=236
In this next image the Info Panel shows RGB values from the lower third of the image. Values are R=209, G=220, B=212
Next the image was white balanced in Lightroom WB to 5750 Kelvin and tint +52. Compensated for the color of the board and the lights the calculated readings are 5050 Kelvin and a +44 Tint adjustment.
The Formatt HiTech 8 stop exhibits a heavy green cast at the edges but is more neutral in the center.
Vü Sion Q 10 stop Neutral Density Filter
The Vü Sion 10 stop ND filter mounted using The Vü professional filter holder (more abut this in a future post) and the same test was performed. As before the image captured is shown as a screen shot showing the RGB histogram. The info panel shows the reading from the center of the captured image. Values are R=235, G=235, B=239
In this next image the Info Panel shows RGB values from the lower third of the image. Values are R=211, G=214, B=219
Next the image was white balanced in Lightroom WB to 5800 Kelvin and tint +13. Compensated for the color of the board and the lights the calculated readings are 5000 Kelvin and a +5 Tint adjustment.
The Vü Sion 10 stop is very neutral in the center an has a negligible shift at the edges.In conclusion I am very impressed with the Vü Sion 10 stop and is near neutral rendering. My full review of this system is forthcoming.
Light of Cape Cod - Photo Workshop
A 4 day 3 night photo workshop that includes lodging and site feesMid Spring in Cape Cod is a multi faceted photo opportunity with truly spectacular scenics and some wildlife. The tourists have not crowded the roads and traffic is not a nightmare. This very special workshop is for all levels of photographers from beginner to advanced. The Cape provides some of the most incredible landscapes and seascapes and the light during spring is exceptional. We will explore and photograph the Cape's classic sea shore, sand dunes, light houses and some wildlife (including migratory birds). We will determine schedules and locations based on weather forecasts, tides and sunrise/sunset times. We may even explore the opportunity to do some night photography.(CLICK HERE FOR DETAILS)
TWiP Episode 453 – Hot New DSLRs!
If you’ve been listening to TWIP over the years you probably know how we feel about the relatively slow pace of innovation in the “mirrored” camera space… also known as the dSLR.Click here for the Youtube ChannelHere is the link to the TWiP page
Iceland - Sept 17 - 25, 2016
Plans for the 2016 September Iceland photo tour and workshop have been finalized. Exceptional fall colors and if luck prevails, the Aurora Borealis will make this trip exceptional.From the western peninsulas of Snæfellsnes and Reykjanes to the exquisite south coast including the exquisite black sand beaches and icebergs in Jökulsárlón and surrounding areas this trip is designed for all levels of photographers. This trip is limited to a maximum 10 participants.All Iceland photo tours and workshops for the past 4 years were fully subscribed within a few days so please register as soon as possible.CLICK HERE FOR DETAILS
Cape Cod - after Lexi
After Friday's snow storm, Saturday's skies and a thin layer of high clouds were a good indication for photo opportunities. heading out to the Cape this next image was off Rt. 1 in Foxboro. (please click on the images for a larger rendition)
There are many great opportunities for some exceptional color in Cape Cod. This next image is an outhouse at a farm. A favorite location we always visit during my "Light of Cape Cod" workshops that I will be posting in the next few days.
Low tide coincidental with the sunset in the flats are another set of my favorite locations.
With the way the low cloud bank was forming I did not expect much of a sunset. There were some interesting cloud formations and a lovely warm glow on the horizon.
As photographers we know never to leave after the sun sets - you never know what the skies might do. Staying pays off:
Wild Flowers, Smoky Mountains and Cades Cove - Spring Workshop
April 17 to 22, 2016 - Six Day 5 Night Photo WorkshopGreat Smoky Mountains National Park is a world-renowned preserve of wildflower diversity over 1,660 kinds of flowering plants are found in the park, more than in any other North American national park. In fact, the park is sometimes referred to as the “Wildflower National Park.” From the earliest hepaticas and spring-beauties in the late winter to the last asters in the late fall, blooming flowers can be found year-round in the park. Wildlife is fairly abundant in Cades Cove and we will have opportunities if lucky, to photograph bears. Landscapes, rivers, waterfalls and much more - a photographer's paradise.CLICK HERE FOR DETAILS
Panasonic Leica DG Vario-Elmar 100 - 400mm F/4 - 6.3 lens
Last week at the Space Coast Birding and Wildlife festival I had the opportunity to briefly try out a pre-production unit. The lens was one of the first pre-production units and a lot has changed since it's manufacture. The final units will be way better in image quality, performance and handling. With that said, I will say I was truly impressed with the way the lens performed.The Leica 100-400mm is an f/4-6.3 telephoto zoom lens that gives the equivalent of 200-800mm in 35mm equivalence.The lens has a lockable zoom pull feature, so you can pull the end of the zoom to set the zoom position, or when it is locked, you need to rotate the zoom ring to vary the focal length. The lens has Power Optical Image Stabilization, and high-speed 240fps AF drive, which makes it incredibly fast in focusing performance. It is also, splash and dust proof.A feature I found most useful was the lens collar and foot that also rotates all the lens function switches. This allows you to easily access these in any orientation, landscape or portrait.In thumbnail view, hover over the thumbnail to see the focal length and exposure details. To see a larger rendition of this slide show please click here
Ithaca, NY - A Waterfalls and Fall Foliage Workshop
Just concluded an incredible workshop in the Finger Lakes region of NY State. October 8th through Columbus Day October 12th, 21 photographers and two spouses hiked through the gorges of some of the most beautiful parks in New York. The first night we attempted some Milky Way and light painting photography in the upper lot of Taughannouck Falls Sate Park. The following day, we had an early start to Buttermilk Falls. Buttermilk Falls is the largest of the 10 falls of Buttermilk Creek. Larger versions of these may be viewed by clicking on the image. 
Following Buttermilk Falls we drove to Ithaca Falls but access was restricted as there was construction on the access way to the river bed. Next option - into Robert Treman Park aka Enfield Glen. Though it rained all morning the water helped saturate the color and the clouds helped defuse the light.Here are some images from Enfield Glen:
Later in the afternoon we went back to Ithaca Falls, a 150ft cascading fall at the end of Fall Creek before the creek empties into Cayuga Lake. Ithaca Falls is 175 wide and considered the region's most powerful.I had left my ND filter in the car so Nancy Marshal was kind enough to let me borrow her Big Stopper that I hand-held against the lens to get the following image:
Iceland August 2015 - Day 3
This the last full day in the peninsula (rain and wind aside) was spent exploring the far west and the northern coastline.
