Geotagging, Selfies, Crowds, and the Menace to Nature

I last visited the majestic, awe-inspiring Horseshoe Bend of the Colorado River south of Page, Arizona in 2015. I don't anticipate seeing it again, at least not when it's crowded.
I last visited the majestic, awe-inspiring Horseshoe Bend of the Colorado River south of Page, Arizona in 2015. I don’t anticipate seeing it again, at least not when it’s crowded.

An article on Petapixel recently brought to my attention the fact that due to recent invasions by huge numbers of tourists at an easy-to-access but previously only sparsely visited location, Horseshoe Bend, which I have visited twice, now has a new $750,000 steel railing at the overlook.

My experience with Horseshoe Bend is the same as anyone else's: I was part of a very large number of people trying to enjoy the experience of a very beautiful natural place.
My experience with Horseshoe Bend is the same as anyone else’s: I was part of a very large number of people trying to enjoy the experience of a very beautiful natural place.
Abby and I got married at Arches National Park's beautiful and evocative Delicate Arch, which, fortunately, was not at all crowded on that October morning. This image was made six years later, on a sunny afternoon, packed with visitors.
Abby and I got married at Arches National Park’s beautiful and evocative Delicate Arch, which, fortunately, was not at all crowded on that October morning. This image was made six years later, on a sunny afternoon, packed with visitors.

I’ve been aware for some time that crowds are discovering and choking places that were once only inhabited by a few dedicated naturalists or photographers.

The worst of these, in my opinion, has to be Antelope Canyon, which I saw in 2012, and to which I have no intention of returning. It has been taken over by geotaggers and their phones, and because it is so popular, holds little appeal to me. On that visit, a women in our tour group put away her camera halfway through the tour. When I asked her why, she said, “This isn’t relaxing.”

Geotagging is using the GPS coordinates to mark the location associated with your photos, allowing others to easily find it and visit it.

It is also significant that locations swarming with visitors dilute the value of photos you might make there: sure, you have a nice image, but so do all the hundreds or thousands of people huddled around you. Instead of creating a unique image, you are part of a group of stenographers.

Visitors make pictures at Antelope Canyon in 2012. This is a splendid example of a beautiful natural phenomenon being crassly commercialized.
Visitors make pictures at Antelope Canyon in 2012. This is a splendid example of a beautiful natural phenomenon being crassly commercialized.

Even our beloved Delicate Arch in Utah’s Arches National Park, which I have had the privilege of visiting nine times,  including when  Abby and I got married there in 2004,  may soon have restricted visitation or even require a permit.

Then, to make matters worse...
A pair of artworks by renowned painters Salvador Dali and Francisco Goya were damaged over in Russia after a group of girls posing for selfies accidentally knocked over the structure on which they were being displayed.
While it is true that our National Parks belong to all of us, such privilege also comes with it an implicit mandate of responsibility to protect and respect the natural world. This image was made at Mather Point at Grand Canyon National Park in April 2015.
While it is true that our National Parks belong to all of us, such privilege also comes with it an implicit mandate of responsibility to protect and respect the natural world. This image was made at Mather Point at Grand Canyon National Park in April 2015.

There is a little bit of good news, though: if it takes a fair amount of physical effort, like hiking 10 miles for example, most of the population are too lazy and out of shape to do it.

A friend photographed me on the Joint Trail at Canyonlands in 2016. It is a moderately difficult, moderately long day hike, and unlike features close to roads and cities, we had it nearly to ourselves.
A friend photographed me on the Joint Trail at Canyonlands in 2016. It is a moderately difficult, moderately long day hike, and unlike features close to roads and cities, we had it nearly to ourselves.

So what is the essential cause of this issue, why does it matter, and what can we do? Is this just a symptom of an Earth with 7.7 billion people on it? Do we have the internet to blame? Social trends? The selfish selfie scene?

By their very nature, people are destructive to many of the natural phenomena we hold in high regard, not just by their appearance, but also by their consumption and erosion of natural features. Their footfalls and Twinkie wrappers are far more damaging than their appearance in our images.

A truth to remember, though, is that we all want to create beautiful photographs, we all want to record and preserve our memories, and we all want to show off our experiences. It’s hard to be too critical of tourists and photographers while being one of them.

What can we do to both protect and experience these beautiful places?

  • Visit during off-peak seasons
  • Visit when the weather discourages visitors, like when it’s super-cold
  • Get to the trail head before the sun comes up, and get off the trail before the crowds start to thicken
  • Obey and defend the Leave No Trace paradigm

Despite some locations being “discovered,” there are still wild, unspoiled spots in the world, worthy of our exploration and our respect.

In 2014, I photographer Delicate Arch in Arches National Park on a cold pre-dawn October morning. As a result, I had beautiful, unique light, and was completely alone at an otherwise crowded location.
In 2014, I photographer Delicate Arch in Arches National Park on a cold pre-dawn October morning. As a result, I had beautiful, unique light, and was completely alone at an otherwise crowded location.
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30 Years at The Ada News: Evolution and Revolution

Portions of this entry are from my Saturday, Oct. 20, 2018 column in The Ada News.

This was one of the first images I made at The Ada News in October 1988, shot with my Nikon FM2n and my 300mm f/4.5 ED-IF Nikkor at Hayes School. It ended up winning an Oklahoma Press Association award for feature photos.
This was one of the first images I made at The Ada News in October 1988, shot with my Nikon FM2n and my 300mm f/4.5 ED-IF Nikkor at Hayes School. It ended up winning an Oklahoma Press Association award for feature photos.
This is the page-sized process camera in the office directly below mine. It was once served by a dumbwaiter, and was made obsolete by the 1998 addition of an imagesetter.
This is the page-sized process camera in the office directly below mine. It was once served by a dumbwaiter, and was made obsolete by the 1998 addition of an imagesetter.

I started at The Ada Evening News (The Ada News since 2012) October 24, 1988, 30 years ago today. In that time, a lot has changed, mostly for the good. A few notes…

  • In the 1980s and most of the 1990s, all my newspaper photography was on film, most of it black-and-white…
  • Most of those images were printed using a system invented in the 1950s, the Kodak Ektamatic processor, which used activator and stabilizer with papers that had developer incorporated into their emulsions, like Ektamatic SC, which…
  • …was a single-weight, fiber-based photographic paper offering very fast turnaround at the expense of quality and longevity. Although there are literally thousands of Ektamatic prints in within my reach as I write this, none are worth saving.  Additionally, because the prints had only been stabilized, not washed and dried, they smelled like vinegar.
This is the Kodak Ektamatic processor in my darkroom at The Ada Evening News in 1989.
This is the Kodak Ektamatic processor in my darkroom at The Ada Evening News in 1989.
I happen to think the Ada area is home to many great sports traditions, and for me, shooting celebrations and dejections is as important as shooting the action. In this image, Ada softballers Amory Morgan and Taryn Jack celebrate an extra-innings score at the Ada High Softball Complex in 2010.
I happen to think the Ada area is home to many great sports traditions, and for me, shooting celebrations and dejections is as important as shooting the action. In this image, Ada softballers Amory Morgan and Taryn Jack celebrate an extra-innings score at the Ada High Softball Complex in 2010.
  • Sometimes sports photography, like sports itself, comes down to a few critical seconds. In this image from a February 2002 area playoff basketball game at Wilburton, Latta Panther players and fans celebrate a go-ahead score against Haworth with just 1.2 seconds remaining in the contest. Latta won the contest to advance to state.
    Sometimes sports photography, like sports itself, comes down to a few critical seconds. In this image from a February 2002 area playoff basketball game at Wilburton, Latta Panther players and fans celebrate a go-ahead score against Haworth with just 1.2 seconds remaining in the contest. Latta won the contest to advance to state.

    When I first came to The Ada Evening News, we had no capability to reproduce four-color images on our own, and had to send images to an Oklahoma City first to have color separations made, so having a color photo in the paper was relegated to holidays and special events. In 1991, we inherited a primitive color separator (its software was stored on a microcassette), and could then have a color picture on Sunday.

  • A lot of more of my shooting in the film era involved flash photography for the simple reason that we couldn’t change ISO settings like we can today. I would shoot two or three assignments on one roll of film, usually T-Max 400.
  • The digital era began for me in 1998, when my newspaper bought a 35mm film scanner (a Nikon LS-2000) and a computer (an Apple PowerMac G3,) which had a floppy drive, and a Zip® disk drive, but only a CD-ROM, so I was unable to archive scanned images from that era. The editor during that period was too cheap to buy Zip disks for archiving, which was very seriously short-sighted,

    though we still have the negatives on file.

I made this image of Boy Scouts presenting the colors at an Ada Cougars home football game at Norris Field in my first week at The Ada Evening News, in October 1988. It later placed in the Oklahoma Press Association's Photo of the Year contest in the "character study" category.
I made this image of Boy Scouts presenting the colors at an Ada Cougars home football game at Norris Field in my first week at The Ada Evening News, in October 1988. It later placed in the Oklahoma Press Association’s Photo of the Year contest in the “character study” category.
  • Music legend Mae Boren Axton presses her handprints into cement at the McSwain Theater in the 1990s, not long before her death. I am honored to record this kind of history for our community.
    Music legend Mae Boren Axton presses her handprints into cement at the McSwain Theater in the 1990s, not long before her death. I am honored to record this kind of history for our community.

    It was around this time that my newspaper got its first imagesetter, a device that printed the page-sized negatives of newspaper content, replacing the downstairs process camera and fundamentally advancing our layout, design and publishing methods.

  • In 2000, I asked for and received a Minolta medium format film scanner, which I used as often as I could, but which gave poor color scans.
  • My first digital camera was the Nikon D1H, purchased by my newspaper in August 2001. Despite its 2.66 megapixel sensors, the D1H was a great addition to my toolbox, and despite having film cameras and scanners in my bag, digital became increasingly prevalent in my work. My last photographic negatives were made in 2005.
  • By the middle of the 2000s, the scanners we had slid into obsolescence due to their SCSI interfaces, which stopped being supported my modern operating systems. Although I could scan with USB-based flatbed scanners, I was never able to get a true high-resolution film scan again.
  • Since 2007 I have been teaching photography at the Pontotoc Technology Center, and I hope being a news photographer has made me a better teacher, and that teaching has made me a better news photographer.
If you lived in Ada in the spring of 2000, you remember when the mill burned in the middle of the night in downtown Ada, and how it smelled for a month afterwards.
If you lived in Ada in the spring of 2000, you remember when the mill burned in the middle of the night in downtown Ada, and how it smelled for a month afterwards.
  • We sold our press in 2012 or so, and began printing our product at our sister paper, The Norman Transcript, and delivering it by mail. With the departure of our press crew and our carriers, our building became mostly vacant. Portions of it were so poorly cared for that they are probably beyond rehabilitation, and will remain closed off and used as storage.
The Ada Cougars claim a state championship trophy at Owen Field at Oklahoma University in 1994. Since I have been at The Ada News, the Cougars have brought home five football championship trophies.
The Ada Cougars claim a state championship trophy at Owen Field at Oklahoma University in 1994. Since I have been at The Ada News, the Cougars have brought home five football championship trophies.
  • One of the best developments in these three decades has been my relationship with the community. While it’s true that bosses and coworkers have been unkind to me on occasion over the years, the public is overwhelmingly glad to see me, impressed with my work, and regards me as the face of The Ada News.
  • According to a count by a few long-lasting co-workers and me, in my time at our newspaper, there have been eight publishers and 14 managing editors.
Not all news is good, as in this image of a firefighter frustrated that he can't get water to his hose during a snowstorm at the scene of a fatality house fire north of Ada in January 2010.
Not all news is good, as in this image of a firefighter frustrated that he can’t get water to his hose during a snowstorm at the scene of a fatality house fire north of Ada in January 2010.
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A Look Back: The Nikon D200

The Nikon D200 stands tall on its MB-D200 vertical grip. The D200 is a good-looking, great-handling camera from the mid-2000s.
The Nikon D200 stands tall on its MB-D200 vertical grip. The D200 is a good-looking, great-handling camera from the mid-2000s.

The Nikon D200 digital single lens reflex (DSLR) camera is a sturdy, capable, good-looking camera from the mid-2000s. It has a 10.2 megapixel sensor that will shoot from ISO 100 to 3200, a decent autofocus system, and it fits just right in my longish hands.

I’ve made tens of thousands of images with my D200s. I own three, all gotten cheap on Ebay, though one of them died earlier this year. In 2018, I don’t consider the D200 a front-line camera, but I still grab them from time to time, and they still deliver.

Luminaries glow at Relay for Life 2014 at Ada High School Friday, May 30, 2014. Made with one of my D200 cameras, color, contrast, and sharpness are all excellent.
Luminaries glow at Relay for Life 2014 at Ada High School Friday, May 30, 2014. Made with one of my D200 cameras, color, contrast, and sharpness are all excellent.

At the end of the film era, many of us used the excellent Nikon F100 SLR, often with the MB-15 vertical grip. I had two of them at my newspaper from 1997 until I retired the last one in 2005, when I only shot a handful of film negatives.

We waited eagerly for its digital equivalent.

The F100, sometimes nicknamed the “Baby F5,” was everything we could want in a film SLR, viceless, well-built, and a pleasure to use. When the D100 appeared, it didn’t deliver on the promise to be the digital F100. The D100 was slow to shoot, slow to think, and sported some very awkward controls, most notably the badly-implemented exposure mode dial. See my D100 review here (link.)

It wasn’t until November of 2005 that we got a look at what would be the “digital F100,” the Nikon D200.

The Nikon D200 digital SLR stands tall on its MB-D200 vertical grip with an older AF Nikkor 50mm f/1.8 lens mounted.
The Nikon D200 digital SLR stands tall on its MB-D200 vertical grip with an older AF Nikkor 50mm f/1.8 lens mounted.
  • I was amazed when I saw the noise in this image made with a D200 by a photographer at another newspaper, until I realized it was originally a JPEG, not a raw file. I shoot raw files exclusively with the D200.
    I was amazed when I saw the noise in this image made with a D200 by a photographer at another newspaper, until I realized it was originally a JPEG, not a raw file. I shoot raw files exclusively with the D200.

    Build quality is head and shoulders above its predecessors, the D70 and the D100, and its contemporary, the D80. The D200 feels solid in hand, and its operations feel smooth and powerful.

  • Though the rubber coating on Nikon D70s is disintegrating into a sticky mess, the same-era D200’s rubber grip panels are fine.
  • Image quality at modest ISO settings (below about 1600) is excellent, with sharp details, accurate color, and low noise. ISO 3200, which is “Hi-1” on the display, is pretty noisy, and it’s not good-looking noise, tending toward blotchiness.
Ty Hoppe nervously chews on his tassel prior to Latta High School's first ever commencement ceremonies in their new multi-million dollar gym Tuesday evening, May 20, 2014. Though somewhat noisy at the D200's maximum aperture of 3200, the image still worked well.
Ty Hoppe nervously chews on his tassel prior to Latta High School’s first ever commencement ceremonies in their new multi-million dollar gym Tuesday evening, May 20, 2014. Though somewhat noisy at the D200’s maximum aperture of 3200, the image still worked well.
  • With the MB-D200 multi power battery grip, it holds two batteries, and adds a vertical shutter release. This combination feels and looks very professional.
  • Media storage is the Compact Flash (CF) card, which I have always liked because it is about the right size for my workflow and in my hands. SD cards seem a little small and easy to lose, although I now use them all the time and have never lost one.
The back of the Nikon D200, which is the side we use, after all, has the usual controls in the usual places. An odd choice was to made some of the lettering pale yellow.
The back of the Nikon D200, which is the side we use, after all, has the usual controls in the usual places. An odd choice was to made some of the lettering pale yellow.
  • The D80, introduced a few months after the D200, uses the same sensor, but is constructed of plastic.
  • The D200 viewfinder is large and bright, and the monitor is big for its time at 2.5 inches diagonal.
  • The D200 has a pop-up flash on the pentaprism, a feature I occasionally wish was on pro models for use as fill light in sunny situations.
  • The exposure mode button on the top of the D200 is a professional standard. It made scrolling through the P, A, S, and M exposure modes quick and easy.
    The exposure mode button on the top of the D200 is a professional standard. It made scrolling through the P, A, S, and M exposure modes quick and easy.

    Unlike all models aimed at amateur photographers, the D200 does not have an exposure mode dial, but an exposure mode button, which I very much prefer. It doesn’t need the mode dial because it doesn’t offer “green box” mode or scene modes, which are used almost exclusively by amateur photographers.

  • Also unlike current amateur Nikon cameras, the D200 has a focus motor in the lens mount, so it will focus older AF Nikkor lenses.
  • The D200 has an aperture indexing ring around the lens mount, allowing it to use automatic exposure with non-autofocus lenses.
  • Color out of the D200 is adequate, but even using the “vivid” setting, it can be a little on the muted side. Both noise and color rendering are vastly improved by shooting raw files.
  • The D200 can be converted to shoot infrared.
This is the Vietnam Veterans travelling wall, which visited Ada a few years ago. The D200s 10.2 megapixel sensor has enough resolution to give an image like this excellent sharpness and clarity.
This is the Vietnam Veterans travelling wall, which visited Ada a few years ago. The D200s 10.2 megapixel sensor has enough resolution to give an image like this excellent sharpness and clarity.

Overall, I would say that the Nikon D200 was an excellent camera for news, sports and magazine photography, and though it is older technology, I have no intention of retiring or selling mine; for one thing, they cost nearly nothing, and I couldn’t get anything for them if I wanted to sell them. Ebay shows D200s in good condition for less than $200, sometimes less than $100. It’s also worth noting that if someone gave me one, or I saw one at a garage sale for $25, I wouldn’t hesitate for a minute to snatch it up.

One of my photography students smiles in late summer sunshine in this image made with the Nikon D200 and my AF Nikkor 180mm f/2.8.
One of my photography students smiles in late summer sunshine in this image made with the Nikon D200 and my AF Nikkor 180mm f/2.8.
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A Look Back: The Nikon D70S

Abby scans the scene at Carhenge in Alliance, Nebraska for a photo with her then-new Nikon D70S in hand. She made a lot of great images with that camera over the years. Abby keeps a d-ring on the strap of her camera to clip to her belt loop to keep it from swinging when she hikes.
Abby scans the scene at Carhenge in Alliance, Nebraska for a photo with her then-new Nikon D70S in hand. She made a lot of great images with that camera over the years. Abby keeps a d-ring on the strap of her camera to clip to her belt loop to keep it from swinging when she hikes.
Abby holds her Nikon D70S as she smiles for me at a rest stop in the Texas Panhandle.
Abby holds her Nikon D70S as she smiles for me at a rest stop in the Texas Panhandle.

Nikon struggled and stumbled in the early 2000s, as did many companies, with how to adapt to the coming digital era.

On more than one occasion, Canon took big steps ahead that Nikon didn’t, and more than a few photographers switched entire systems during that period.

Nikon’s flagship cameras, the D2H and the D2X, were behind the curve even when they were introduced, while their Canon contemporaries, the 1D Mark II and the 1Ds Mark II, had twice as many pixels and were nearly twice as fast.

Despite a fair amount of dust and sticky leatherette panels, our Nikon D70S still works fine.
Despite a fair amount of dust and sticky leatherette panels, our Nikon D70S still works fine.
The author switches back and forth between the Nikon D70S, with a wide angle zoom on it (in hand), and the Nikon D100, with a telephoto zoom, at Mesa Verde National Park in October 2005.
The author switches back and forth between the Nikon D70S, with a wide angle zoom on it (in hand), and the Nikon D100, with a telephoto zoom, at Mesa Verde National Park in October 2005.

In 2004, Nikon introduced the D70, a lighter, smaller, more affordable DSLR than either of the D2 series, and photographers snatched them up, some even asserting that it was Nikon’s “only” professional camera. In 2005, Nikon offered the D70S with some incremental updates to the D70. At that point my newspaper and I traded my two Nikon F100 film cameras for a D70S, and in the summer before Abby and I travelled to South Dakota on our vacation, Sundance, we bought a D70S for her.

The D70S was head and shoulders above the Nikon D100, which I reviewed in August. Some observations…

  • The D70S has a fairly weak anti-aliasing filter, so fine lines and and repeating patterns can exhibit the “Christmas tree lights” effect.
Abby uses her D70S with the lightweight 75-300mm f/4-5.6G at Scott's Bluff National Monument in July 2005.
Abby uses her D70S with the lightweight 75-300mm f/4-5.6G at Scott’s Bluff National Monument in July 2005.
  • At six megapixels, the D70, D70S and D100 were right in the middle of the count or the era. Nikon’s D2H had four, and the D2X had 12.
The Nikon D70S and its usual kit-lens companion, the 18-70mm f/3.5-4.5, make a very straightforward lens and camera combination, with no surprises and nothing amazing.
The Nikon D70S and its usual kit-lens companion, the 18-70mm f/3.5-4.5, make a very straightforward lens and camera combination, with no surprises and nothing amazing.
  • JPEGs straight out of the camera tend to be too yellow. Both Abby’s camera and my work one did this. It required a deep menu adjustment. This might have been Nikon’s counter reaction to their previous cameras exhibiting JPEGs that were a little bluish.
  • The top LCD display on the D70S contains most of the important information you need. Many new entry-level cameras put this info on the display on the back of the camera to save space.
    The top LCD display on the D70S contains most of the important information you need. Many new entry-level cameras put this info on the display on the back of the camera to save space.

    Shutter operation is smooth, but limited to three frames per second, slow by news and magazine standards, even compared to the film days. Better, though, was the fact that files wrote to the CF card fast, and the D70S would keep shooting. I seldom filled the buffer and had to wait. This was a key failing of the D100, which would stall and stop after shooting just a few RAW files.

  • The material covering the surfaces of the camera is a cheap plastic of some kind, and got slick soon after delivery. Eventually, Abby’s D70S’s surface got sticky as the plastic started to decay. Despite the D100’s shortcomings, this was one of the few things Nikon got right with it.
  • Another key item that set the D70 above the D100 was the exposure mode dial. Important settings in the D100 required turning the dial to change them. The D70 and the D70S moved those to buttons in the back of the camera, so the exposure mode dial only controlled the exposure mode. This was an important step from Frankencameras to true digital cameras.
The Nikon D70S has a true exposure mode dial.
The Nikon D70S has a true exposure mode dial.
  • Unlike the D100, Nikon never developed a battery grip for the D70. This is common on today’s entry-level.
  • Unlike the D100’s magnesium alloy body, the D70 and D70S are mostly plastic.
  • Most entry-level DSLR cameras don't include a second command dial, found on the right front of the camera under the right index finger. The reason for this is, along with removing the top LCD display, to save space and make very small cameras, but I use the second command dial every day.
    Most entry-level DSLR cameras don’t include a second command dial, found on the right front of the camera under the right index finger. The reason for this is, along with removing the top LCD display, to save space and make very small cameras, but I use the second command dial every day.

    The D70S has a dedicated second (front) command dial, which is mostly missing on Nikon’s later entry-level cameras to save space. I find having two command dials indispensable.

  • The D70 and its predecessors include the so-called “screwdriver” autofocusing connector on the lens mount so it will focus older AF lenses in the Nikkor lineup. None of Nikon’s entry-level cameras today include it, requiring lenses with built-in focus motors (AF-S) or a photographer willing to manually focus.
  • ISO in the D70S is limited to 1600. I don’t care how noisy 3200 and 6400 might have been, Nikon; I needed those ISOs.
The back of the D70S reveals a work in progress. Controls are a bit clumsy and small compared to more modern cameras, as is the two-inch display.
The back of the D70S reveals a work in progress. Controls are a bit clumsy and small compared to more modern cameras, as is the two-inch display.
Abby photographed me with her D70S at Monument Valley in 2006. As you can see, color rendition and sharpness are excellent.
Abby photographed me with her D70S at Monument Valley in 2006. As you can see, color rendition and sharpness are excellent.
  • The D70S was one of the last, maybe the last, entry-level camera to use Compact Flash (CF) cards. THe D40, D40x, D50, D80, and D90 all use the much smaller, and equally capable, Secure Data (SD) cards.
    The D70S was one of Nikon’s last, maybe THE last, entry-level camera to use Compact Flash (CF) cards. THe D40, D40x, D50, D80, and D90 all use the much smaller, and equally capable, Secure Data (SD) cards.

    The “kit lens” that came with the D70 series, the AF-S Nikkor 18-70mm f/3.5-4.5G, was a decent performer, sharp and lightweight, but with a stiff zoom ring that the longer focal lengths together, making fine zoom adjustments difficult. In addition to the Abby’s, I still have one in my bag at the office, which I use when I want to lighten up, like at ball games where I will only need a few wide angle frames.

Despite the pixel limitations and other shortcomings of digital cameras of the early 2000s, Abby and I were able to make great images that print well and stand the test of time. See Abby’s daughter’s wedding (link), which we shot entirely with two Nikon D70Ss.

Abby’s D70S still works to this day, but after about 30,000 frames, the one at my office died. It now lives in the trophy case in the front entrance to my newspaper.

Abby makes pictures with her Nikon D70S at a turnout on U.S. 64 near the New Mexico/Colorado border in October 2005.
Abby makes pictures with her Nikon D70S at a turnout on U.S. 64 near the New Mexico/Colorado border in October 2005.
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A Look Back: The Nikon D100

My last remaining Nikon D100 digital single lens reflex (DSLR) camera stands tall in my home studio recently.
My last remaining Nikon D100 digital single lens reflex (DSLR) camera stands tall in my home studio recently.
Like any camera, the Nikon D100 was able to make amazing images in the right hands and the right circumstances, as in this image of my lovely wife in December 2009.
Like any camera, the Nikon D100 was able to make amazing images in the right hands and the right circumstances, as in this image of my lovely wife in December 2009.

The first digital camera I used regularly was the Nikon D1H, a relatively low pixel count camera at just 2.6 megapixels. My newspaper bought it for me for primary news gathering, and though its limitations were obvious, so was its ability to replace film, and thus save money and streamline workflow.

I immediately loved shooting digitally. It wasn’t instant gratification that charmed me, but the idea that the process could get out of my way and let me do my job. I liked it so much that I started hunting for digital cameras of my own. The first one I bought was a Nikon Coolpix 885, a compact camera I hoped would become my snap shooter.

This image of a tree silhouetted against a pond at sunset was made with the Nikon D100.
This image of a tree silhouetted against a pond at sunset was made with the Nikon D100.

I still wanted more, though, so I watched for cameras to go on sale. In the summer of 2002, I bought a Minolta DiMage 7i, and at the end of 2003, I brought my first digital single lens reflex (DLSR) camera, the Nikon D100, when it was discontinued and marked down.

The D100 has Nikon's classic good looks, and features a magnesium alloy chassis to make it lighter and stronger. Note the "D100" logo in the military stencil style.
The D100 has Nikon’s classic good looks, and features a magnesium alloy chassis to make it lighter and stronger. Note the “D100” logo in the military stencil style.
A horse sculpture made from chrome car bumpers stands on the street in downtown Wichita, Kansas in November 2003. I photographed it with the D100.
A horse sculpture made from chrome car bumpers stands on the street in downtown Wichita, Kansas in November 2003. I photographed it with the D100.

The D100 was a contemporary of the Fuji S2 Pro, and the two have some characteristics in common. Both cameras were anticipated to be the digital replacement for the excellent Nikon F100 film camera, but fell well short in most respects.

One reason I decided to write this now is that a coworker moved from one area of the building to another, and in cleaning out her desk, found a D100 I “gave” her a few years ago to shoot ads, and to make a few images of her daughter playing basketball. As far as I was concerned, she could have kept it forever, but when she handed it back to me, I cleaned it up and put it into occasional service, and wow! The D100 was as bad as I remember, and especially glaringly bad compared to cameras just a generation newer like the D70.

My wife Abby explores the bamboo forest at the Oklahoma City Zoo in this image made with the Nikon D100 and the AF Nikkor 75-300mm f/4-5.6.
My wife Abby explores the bamboo forest at the Oklahoma City Zoo in this image made with the Nikon D100 and the AF Nikkor 75-300mm f/4-5.6.
  • Releasing the shutter results in a asthmatic click-pause, click-pause, click-pause. It almost seems like the camera has been deliberately hobbled to keep  it from competing with other Nikons of the era.
  • The viewfinder is quite small, and while I was able to use it in 2003, today my older eyes can’t quite discern if the autofocus hit or missed on my subject. It feels cramped and cheap.
  • The display on the back of the camera is 1.8 inches diagonal, which today seems like a joke, but it was the tech for its day. The Nikon D1H and D1X had two-inch displays, and cost thousands more.

    The exposure mode dial on the D100 was one it's worst features.
    The exposure mode dial on the D100 was one it’s worst features.
  • The true Achilles heel of the D100 is the exposure mode dial, which you have to move out of shooting mode to change basic settings like ISO and white balance. Failing to put it back into a shooting mode can result in a shutter pull, a missed shot, and a momentary baffled look until you realize what you’ve done.
  • JPEGs out of the camera are, and always have been, achingly soft, even with the sharpening option set to “high.” I presume this is due to the camera’s aggressive anti-aliasing filter. The next Nikon, the D70, had a much lighter anti-aliasing filter, and while it made sharper JPEGs, it also frequently displayed aliases in patters like plaid clothing or stadium seats.

    One positive about the D100 is the top display, which, though not particularly large, contains all the basic information I need.
    One positive about the D100 is the top display, which, though not particularly large, contains all the basic information I need.
  • Thus the only option for sharp images out of the D100 is to shoot RAW files. Doing so doesn’t slow the frame rate, but the buffer fills immediately, and the camera pauses while it writes the 10MB files to the card. If you turn on RAW file compression, it takes more than a minute to write each frame to the card, a glaring coding flaw. It’s not an option.
  • Color rendition with the D100 is excellent and accurate.
  • Certain lenses don’t get along with the D100s autofocus system. My AF Nikkor 180mm f/2.8, for example, is one of my favorite lenses, but always front-focused on the D100.
  • Nikon got the battery right, using a modern, reliable lithium ion battery. The Fuji S2 Pro seems very primitive by comparison.
  • The D100 isn’t particularly good in the high-ISO regime, but it beats out the better-in-most-categories Fuji S2 pro. The D100 goes to ISO 1600, followed by Hi1 and Hi2 (3200 and 6400, respectively), but those are so noisy, they can only be used in a pinch.

    The D100's lens mount is the Nikon F-mount, and it will autofocus earlier Nikkor AF lenses.
    The D100’s lens mount is the Nikon F-mount, and it will autofocus earlier Nikkor AF lenses.
  • Build quality is good. The frame is magnesium, lightweight and well-crafted. Unlike its contemporaries the D1H and D1X, which suffered from an embarrassing tendency to shed their grip covers, the D100’s surfaces remain in good shape to this day.
  • The addition of the MB-D100 vertical grip makes the camera look and feel five times more impressive and professional. It doesn’t change anything about the cameras performance except to add an extra battery.
  • In the era of cameras with 50 or even 100 megapixels, the D100’s six million pixels seems like far too few, but I have a number of 13×19-inch prints from it that hold up very well, thanks to filling up the frame with my subject, and attention to post-production editing. It was often enough, but barely.
The battery grip takes the place of the battery in the handle of the D100 and allows the use of two EN-EL3 batteries. This does not improve the performance of the camera, but the combination of batteries stays charged longer. This accessory also has a vertical shutter release, which I use all the time.
The battery grip takes the place of the battery in the handle of the D100 and allows the use of two EN-EL3 batteries. This does not improve the performance of the camera, but the combination of batteries stays charged longer. This accessory also has a vertical shutter release, which I use all the time.
The D100's lens mount is the Nikon F-mount, and it will autofocus earlier Nikkor AF lenses.
The D100’s lens mount is the Nikon F-mount, and it will autofocus earlier Nikkor AF lenses.

You can find D100s in good condition for less than $100 on sites like Ebay, but in all honesty, unless you just want to find out what it was like, the D100 is no bargain at any price.

The deciding, and somewhat contradictory, factor in the final analysis is that despite the D100s failings, I was able to make some amazing, remarkably sharp, clear photos with it.

It is difficult to imagine another camera making a better image than this, shot with the D100 at the White Rim Overlook at Canyonlands National Park in Utah.
It is difficult to imagine another camera making a better image than this, shot with the D100 at the White Rim Overlook at Canyonlands National Park in Utah.

Like any tool in the photographic toolbox, a camera’s job should be to get out of the way so we can move forward with expressing our vision, and the D100 didn’t do this particularly well. I attribute most of my success with it to patience and effort.

Despite the D100's deficiencies, I was able to shoot news and sports with this camera, like this image of the Konawa Lady Tigers claiming their OSSAA state championship trophy.
Despite the D100’s deficiencies, I was able to shoot news and sports with this camera, like this image of the Konawa Lady Tigers claiming their OSSAA state championship trophy.

It’s easy to forget that in 2003, zillions of people made great images with this camera, and its easy to toss it on the scrap heap of technology, but I am glad I got to shoot with it. I took my D100, for example, to shoot the Trinity Site, location of the first atomic bomb test, in 2006, and have no intention of returning. My images from that shoot, and many more with the D100, were entirely successful.

Despite the technological limitations of earlier digital cameras like the Nikon D100, it's hard to argue with an image as beautiful as this one at White Sands National Monument.
Despite the technological limitations of earlier digital cameras like the Nikon D100, it’s hard to argue with an image as beautiful as this one at White Sands National Monument.
2+

A Look Back: The Fujifilm Finepix S2 Pro

The Fujifilm Finepix S2 Pro was a leading digital single lens reflex (DSLR) camera in 2002.
The Fujifilm Finepix S2 Pro was a leading digital single lens reflex (DSLR) camera in 2002.
Abby makes pictures with the Fujifilm S1 Pro, the S2's immediate predecessor. The cameras have a lot in common.
Abby makes pictures with the Fujifilm S1 Pro, the S2’s immediate predecessor. The cameras have a lot in common.

I never owned the Fujifilm S2 Pro, but my long-time friend Michael bought one just a year after it’s 2002 introduction, to replace his S1 Pro. My wife Abby and I borrowed the S1 Pro for a while during that period.

The S2 Pro is built on a Nikon N80 film camera body, a practice common during the period; it was a “Frankencamera,” stitched together from film hardware and digital guts. Many of us used cameras like this in the early 2000s; I used the Nikon/Kodak DSC 760 and the 720x.

Among many other things Michael has photographed over the years, he shot our 2004 wedding with the S2 Pro, with outstanding results.

Abby and I beam as we exchange vows at Utah's iconic Delicate Arch, photographed with the Fuji S2 Pro.
Abby and I beam as we exchange vows at Utah’s iconic Delicate Arch, photographed with the Fuji S2 Pro.

On a couple of occasions when Michael let men borrow it, I made some very successful images with it, including a couple of magazine covers.

Some thoughts…

  • Some reviewers claimed that the sensor in the S2 Pro wasn’t “really” a 12 megapixel sensor because it used six millions photo sites, arranged in Fuji’s own Super CCD diagonal configuration, and interpolated up to 12 megapixels. What this view misses is that all digital color images are made using some kind of interpolation. Fuji’s scheme in the S2 Pro seems to deliver a “real” 12 megapixel image.
  • The S2 Pro took two different kinds of storage media. There is a SmartMedia slot on top, and a CF/Microdrive slot below. I assume SmartMedia was supported because Fuji helped develop it, even though it was as good as dead even in 2002.
    The S2 Pro took two different kinds of storage media. There is a SmartMedia slot on top, and a CF/Microdrive slot below. I assume SmartMedia was supported because Fuji helped develop it, even though it was as good as dead even in 2002.

    The separate digital and film mechanisms mean separate battery systems. The digital side runs on AA batteries in a tray at the bottom, and the film side uses CR123 batteries in the grip, though for a while you could buy a bypass insert to skip the CR123s, with inconsistent results.

  • Even by 2002 standards, the autofocus system the S2 Pro inherited from the N80 was slow and inaccurate. I usually manually focused, and Michael eventually got so frustrated with it he replaced it with a Nikon D200.
  • Although it was touted as having decent high-ISO performance, I was disappointed by it, particularly that it could make noise bands at ISO 1600.
  • Like its contemporary the Nikon D100, the S2 Pro requires moving the exposure mode dial to change the ISO and the custom settings, inherited from its film ancestors, which interrupts workflow, particularly if you forget to put it back.
  • Color straight out of the camera might be the best of the era, a Fujifilm strength; accurate, saturated but not phony, good skin tones, though I found that auto and daylight settings both tended to be a little too cool, particularly for skin tones.
  • Sharpness was good as well, allowing true 12 megapixel enlargements.
  • The camera is smaller and lighter than some of its contemporaries, like the Kodak DCS 14n, but slightly bigger and bulkier than the Nikon D100. In my hands, everything about the Fuji seems small compared to the pro DSLRs I use every day.
  • The frame rate, write-to-card time, and response time to button pushes all lag, and slow me down. Sometimes that can be a bonus, since it can force you to be more conservative and more contemplative about your shooting, but I would never attempt to shoot sports, for example, with the S2 Pro.
This is a 100% crop of an image from the S2 Pro, which, as you can see, is sharp and has satisfying colors.
This is a 100% crop of an image from the S2 Pro, which, as you can see, is sharp and has satisfying colors.
Several cameras of this era made this mistake: having to take the camera out of a shooting mode to change vital settings like ISO.
Several cameras of this era made this mistake: having to take the camera out of a shooting mode to change vital settings like ISO.

Despite its slowness, I always liked shooting with the S2 Pro, and if I found one at a garage sale for $25, I’d buy it, but not for much more than that. It was a good step forward in the early years of digital photography, and Fuji obviously learned and grew from the experience (which Kodak, for example, did not), and has gone on to do great things in the field.

The back of the Fuji S2 Pro plainly shows the Nikon N80 heritage, with its cheaper plastic covering and small viewfinder eyepiece.
The back of the Fuji S2 Pro plainly shows the Nikon N80 heritage, with its cheaper plastic covering and small viewfinder eyepiece.
Michael ran the S2 Pro through its paces over the years, though it is mostly retired now. He made a lot of great pictures with it.
Michael ran the S2 Pro through its paces over the years, though it is mostly retired now. He made a lot of great pictures with it.

Special thanks to Michael for getting the S2 Pro out of storage and photographing it for me.

1+

What’s Missing from Your 4K Camera

A huge selling point for cameras in recent years has been their video capability. This is a result of the megapixel war being over, and manufacturers perceiving the need to sell their products with some magic number. For a while it was “full HD” (high definition) video, but now it’s “4K.”

For those of you who don’t know, 4K doesn’t express resolution the same way “megapixel” is supposed to express resolution in a still camera; it represents the fact that the long dimension of the recorded and projected image is approximately 4000 pixels.

Cue the eager reviewer in Hong Kong or Istanbul or Las Vegas, talking about bit rates and autofocus and color styles and F-log. Cue millennial in skinny jeans and pretentiously-ironic Fedora, leaping from the railing in a parking garage in super-slow-motion, super-high-resolution. The reviewer’s voiceover says something like, “If it weren’t for the better XYZ in the PDQ, I could recommend this camera for it’s striking 4K video.”

What’s missing from all of these reviews? All of them? A script.

Essentially, 99.99% of all 4K video is demo reels that don’t tell any story of any kind. It’s another seriously misplaced priority in the imaging world.

Take the following video as an example: In 1992, I bought some surplus VHS video cassettes at the Ada Public Library. Three of them were called Best of the Fests, which were collections of films from film festivals. On one of those was a 1988 short film called Spartacus Rex. It was the best of the Best of the Fests, and I have been enjoying it and occasionally quoting ever since. It was made by Loch Phillipps and Caroline Skaife. It’s brilliant, not because it’s HD or 4K (I think it was 16mm actually), but because it has a script…

1+

My Ten Dollar Camera Collection

I made this image with an Olympus Camedia C-750 digital camera, which dates back to 2003. I was very happy with the result.
I made this image with an Olympus Camedia C-750 digital camera, which dates back to 2003. I was very happy with the result.

Long-time webizens know that the controversial Ken Rockwell has a lot to say. He is both revered and reviled on the web, but remains popular in any case.

One concept he explored years ago was “futuretrash,” the idea that technology is inherently inclined to advance so fast that almost all tech machinations will be obsolete in a short period of time, like months or just a few years.

The article is ten years old, but it’s just as relevant today, particularly after I half-jokingly got on Ebay and bought 22 untested old digital cameras for just $10. They arrived a couple of days later, and my wife Abby and I have been playing with them ever since.

Here are $5000 worth of digital cameras reduced to a $10 Ebay grab.
Here are $5000 worth of digital cameras reduced to a $10 Ebay grab.

The oldest camera of the bunch appears to be from 1998, a Kodak DC210 Plus. The front of the camera brags “MegaPixel,” and the web confirms that yes, it is a one megapixel camera. The web also indicates that this behemoth originally cost $899. No, I am not making that up; that’s almost $1400 in today’s dollars.

Abby holds the 20-year-old Kodak DC210 Plus digital camera. It actually works.
Abby holds the 20-year-old Kodak DC210 Plus digital camera. It actually works.

Just for the record, one of these cameras, a Nikon Pronea S, is a film camera from the APS era.

The price of digital cameras fell for years, in accordance with Moore’s Law, so by 2008, this camera had been replaced with much better, much cheaper technology. Still, even the newest and best of this batch of untested cameras must have cost at least $300. To get them all for just $10 says this: what was once valuable is now garbage.

About a third of these cameras work. Some of them take AA batteries, while some require proprietary batteries I don’t have. Most of them use the ubiquitous SD card, while a few take CF cards. Two of them take SmartMedia, which I don’ t have, and one requires an SD Picture Card, which was in it when it arrived. A Sony Cybershot had a Memory Stick in it.

But I didn’t buy them to take pictures. I certainly have enough modern cameras for that. I bought them to ponder what we really value in a capitalist/merchentilist society from the perspective of someone in my area of expertise. Are we really asking the human race to throw away college savings, mortgage payments, health care, retirement, and any number of other once truly valuable things so we could take 20 or 30 1.2-megapixel digital photographs of our niece’s graduation?

Flash forward 20 years to now, and the real reason these cameras are in a pile in a box at the bottom of the coat closet is this: we have been brainwashed to believe we need to take tens of thousands of photographs of our lives with increasingly complex and sophisticated tools (iPhones for example), instead of living our lives?

Hawken the Irish Wolfhound was so curious about my woods walk that he got tangled up in a vine alone the south fence.
Hawken the Irish Wolfhound was so curious about my woods walk that he got tangled up in a vine alone the south fence.

Yes, I see this all the time: people watching their children grow up on the screens of their phones. And I can’t be certain, but my guess is that only a tiny fraction of these images and videos are ever seen again.

So, Richard, photographer and photography instructor, what is your bottom line? Quality over quantity? That we should all be artists? That we should turn off our phones and smell the marigolds once in a while? All this and more. Life is worth living instead of watching, and while photography can be a powerful tool for recording our lives, it shouldn’t take the place of our lives.

I made this image of a thistle plant in our pasture last night with the 2005-era Kodak Easyshare Z740. Possibly regarded as inadequate by today's standards of technology, the image is, nevertheless, lovely.
I made this image of a thistle plant in our pasture last night with the 2005-era Kodak Easyshare Z740. Possibly regarded as inadequate by today’s standards of technology, the image is, nevertheless, lovely.
3+

Funniest Repair Ever

This is the Gorilla Glue that squished out when I reattached a thumb grip on my D700.
This is the Gorilla Glue that squished out when I reattached a thumb grip on my D700.

When I bought my D700, it was missing the rubber grip for the right thumb. Some weeks later one of my D200s died, and I stripped it for parts. The thumb grips aren’t the same, so I trimmed it with a scissors and glued it on, and it worked fine.

Ten days ago, though, it came unglued, so I decided to glue it back, only more aggressively than before. I put a fair amount of Gorilla Glue on the spot, pressed the rubber grip into place, and put a book on it to hold it down while it dried. Apparently, the pressure from the weight of the book caused the glue to ooze out at a couple of spots.

I laughed hard when I saw the result. Of course, I can just cut off the extra glue with a razor or sharp knife, but I’m halfway tempted to leave it on and tell people it’s some kind of an accessory, like the glue spots are pressure points or massage balls or something.

2+

Breaking Things Loose and Keeping Things Fresh

Black and white barbed wire: am I creating, or just brooding? Does it matter?
Black and white barbed wire: am I creating, or just brooding? Does it matter?

I talk all the time on this site and on my personal site about creativity.

“If I take one more picture of a leaf, I’m going to explode” ~R. E. in 2015, about a creative rut he experienced.

Lately I’ve been social media friending a lot of photographers at bigger newspapers on the coasts. Their work is amazing and inspirational, but seems to flow from a different source: regattas, refugees, politics, enormous sports events, current affairs; they live in states that have counties bigger than Oklahoma, so it’s a different worldview just based on what we see every day. I look at their lives with some incredulity: how can you deal with millions of people, their noise, their traffic, their smell. I live in a town that has fewer people in it than the staff at the New York Times.

You can piss and pout all day about this not being original or groundbreaking, which it's not. It's an image I love of something I love. Done.
You can piss and pout all day about this not being original or groundbreaking, which it’s not. It’s an image I love of something I love. Done.

I caught a recent YouTube video from a channel called DigitalRev (“Rev” being “revolution” I guess) about photographic cliche’s to avoid. In it, he mentions just about every kind of photo. I’ve touched on this idea before, and it is this: in a world of literally billions of images being made every day, stop trying to reinvent the wheel and start trying to express yourself. It’s a subtle concept, but one worth merit.

Looking at the work of other photographers will make you chase your tail. It’s all been done to death. Don’t believe me? Do a web search for “Hong Kong at Night.” I’ll wait.

See? What can you add to that? Next, do a web search for “YOUR NAME in pictures.” Now, what can you add to that?

Finally, I know I’ve said this time and again, but it bears a lot of weight: you can’t buy mastery, you have to earn it. Trust me on this: when I take my pistol down to the pond and my first ten shots miss, there’s nothing wrong with my pistol.

Sometimes your camera can make you look great, if you're willing to let it. I made this exposure entirely by accident.
Sometimes your camera can make you look great, if you’re willing to let it. I made this exposure entirely by accident.

SaveSave

SaveSave

1+

A Camera Like a Sports Car

The Nikon D2H digital camera was Nikon's news and sports flagship camera in 2003. I have three working D2Hs, and I get them out once in a while and make great images with them.
The Nikon D2H digital camera was Nikon’s news and sports flagship camera in 2003. I have three working D2Hs, and I get them out once in a while and make great images with them.

My wife Abby owns a 1986 Toyota MR-2 mid-engine roadster. She is its only owner. It’s not her main vehicle, and she doesn’t drive it very often: parts on it are worn out, its technology is a couple of generations old, and it doesn’t do very many things better than her current vehicle, a Nissan Frontier pickup.

But it does do one thing better: it’s fun to drive.

Abby has owned her Toyota MR-2 since she bought it new in 1986.
Abby has owned her Toyota MR-2 since she bought it new in 1986.

I tell you this because all winter I used my “SUV” cameras, matching Nikon D300S digital cameras, for everything, and when things started to get sunny and green, I decided to give them a break for a few days and shoot with the much older Nikon D2H cameras I have locked up in my office. I don’t use them very often: parts on it are worn out, its technology is a couple of generations old, and it doesn’t do very many things better than the new cameras.

But like Abby’s roadster, the D2H does something very well: it’s fun to shoot. It features perfect, lightning-fast autofocus and an effortless eight frames per second frame rate. Nobody needs the speed and handling of a sports car, but it’s fun. The D2H is also one of the best-built cameras and feels great in-hand.

It’s also fun to make really powerful photos with outdated cameras because it shows the “upgraders” that it really is the photographer, not the camera, making pictures.

I know at least one gearhead out there is going to want to chime in with, “but it’s only a 4.1-megapixel camera, Richard. What if you want to print big?”

  1. I always hear this talk from people who never actually make big prints.
  2. You need to come to my office and look at my big prints… 24×36 inch… and tell me which ones were made with the D2H. You won’t be able to.
Want to get more compliments on your sports photos? Your first purchase should be a lens, followed by some training in how to use it. Your camera, whatever it is, isn't the problem.
Want to get more compliments on your sports photos? Your first purchase should be a lens, followed by some training in how to use it. Your camera, whatever it is, isn’t the problem.

So what doesn’t the D2H do well? It doesn’t do well at ISO 1600 and above. It doesn’t have a big, luxurious viewfinder, and it doesn’t have a big, bright monitor on the back. Otherwise, though, this camera does pretty well for 15-year-old technology.

In the month since the end of the basketball season, the D2H has been my main camera for baseball and softball, sunny sky sports, giving the D300Ss a nice rest period, and allowing me to make great pictures and have great fun doing it.

What makes an image like this work is attentive sports photography technique, and a decent lens, in this case my AF-S 300mm f/4.
What makes an image like this work is attentive sports photography technique, and a decent lens, in this case my AF-S 300mm f/4.
3+

Nail in the Film Coffin

Two summers ago at Ada's annual July 4 celebration in Wintersmith Park, I ran into a photographer who was shooting with a beautiful Mamiya C220. No one in town can process the film for it, so unless he has a darkroom, processing is an obstacle. He was the only person I've seen with a film camera in the field in the past few years.
Two summers ago at Ada’s annual July 4 celebration in Wintersmith Park, I ran into a photographer who was shooting with a beautiful Mamiya C220. No one in town can process the film for it, so unless he has a darkroom, processing is an obstacle. He was the only person I’ve seen with a film camera in the field in the past few years.

I recently posted that Kodak Alaris was reintroducing a black-and-white film to their lineup, T-Max P3200, which I regard as a likely mistake. Substantiating this is a recent announcement by Fujifilm that they are ending manufacture of all black-and-white film in October.

I've got a fair share of film cameras sitting around, but I can't think of a single reason to buy film for them.
I’ve got a fair share of film cameras sitting around, but I can’t think of a single reason to buy film for them.

For the entire first half of my career, I shot film, and though digital was fairly primitive when it came along, I embraced it, and have exactly no desire to go back to film. Fuji apparently agrees with me, though for a very different reason: profitability. It’s clear that companies can’t make money selling 20 rolls of film to 20 moody millennials who think film is “edgy” or “hip,” so the film game is over.

If I had my way (and/or a Kickstarter plan), I might be inclined to find a way to integrate digital photography into the millions of wonderful old film cameras we all own and relish, but I have no urge to shoot film with them. It’s pretty apparent that no one else does, either, because no one ever asks me to teach them anything about the darkroom or film, and I almost never see anyone shooting film in the field.

The Shrinking World of Film...
I came across my next door neighbors last night, and they had an old film camera with a broken-off rewind knob, so they couldn’t remove the film to have it processed. We picked at it with a pocket knife to no avail, and I went on with my chores. Even if they get the film out and take it to Wal Mart or Walgreens (the last places in town that say they can process film), those businesses no longer have actual C41 processors, and will need to send the film to Dallas or Los Angeles or Hong Kong to be processed. Like them, I am curious to see what’s on the film, but have no reason or desire to shoot any more film.

But hey, if you think there is money to be made in making and selling black-and-white film, get some investors and make Fuji an offer for their Acros brand, or start your own. What’s that? Only a fool would try to make a living selling film in 2018? Ah.

Somebody handed me a four-pack of Kodak color negative film recently. Upon opening it up and taking the rolls out of their cans, it felt very familiar to handle them. I have a lot of latent knowledge from the early period of my career.
Somebody handed me a four-pack of Kodak color negative film recently. Upon opening it up and taking the rolls out of their cans, it felt very familiar to handle them. I have a lot of latent knowledge from the early period of my career.
3+

A Look Back: The Sony Cybershot DCS-F828

Welcome to another in my series of older cameras that were once great but have been relegated to the dustbin of photographic history. Here is the Sony Cybershot DCS-F828.

The Sony Cybershot DCS F828 digital camera poses for me in my studio today.
The Sony Cybershot DCS F828 digital camera poses for me in my studio today.

Introduced in 2003 and shipped in early 2004, this replacement for Sony’s DCS F717 all-in-one fixed-lens digital camera was very expensive when it was introduced, and plagued with problems. At the time, my bridge/travel/all-in-one camera was the excellent Minolta DiMage 7i, which was still going strong, so I passed on the Sony.

I made this beautiful image of autumn leaves with the Sony F828. I'm sorry to say that this success is the exception rather than the rule.
I made this beautiful image of autumn leaves with the Sony F828. I’m sorry to say that this success is the exception rather than the rule.

This class of cameras is known as bridge cameras, crossover cameras, or even walk-around cameras, and feature a permanently-attached, very-long-zoom-range lens. They are a favorite of mine and of my wife Abby because they are so easy to integrate into activities like travel, hiking, and family reunions.

The back of the Sony F828 features a lot of useful controls, though they are accessed by very small buttons and switches. The LCD monitor is only 1.5 inches diagonally.
The back of the Sony F828 features a lot of useful controls, though they are accessed by very small buttons and switches. The LCD monitor is only 1.5 inches diagonally.

I got my hands on the Sony F828 years after its heyday, for about a tenth of its original retail price.

Positives for this camera:

  • Mechanical zoom lens that allows tactile access focal length.
  • Distinct 7-bladed aperture that creates 14-point sunstars.
  • Well-balanced with a good in-hand feel.
  • Many of the important controls use buttons or switches on the camera/lens body rather than hidden in a menu.
  • It’s a great-looking, sexy camera that never looks like a toy.
It's always nice to see a camera with a true PASM exposure mode dial. The F828's is metal and easy to grip.
It’s always nice to see a camera with a true PASM exposure mode dial. The F828’s is metal and easy to grip.

Negatives about the F-828…

  • Despite the use of a Carl Zeiss optic, the Sony F828 remains littered with image quality issues.
    Despite the use of a Carl Zeiss optic, the Sony F828 remains littered with image quality issues.

    The zoom lens’s images are very prone to purple fringing. Apologists for this camera had to whitewash this flaw with phrases like “under certain circumstances” but the truth is that my Minolta DiMage 7i never once did this.

  • Shooting RAW files locks the camera for ten seconds, ensuring a missed follow-up frame, even in continuous shooting mode.
  • The JPEGs out of this camera have an odd purple undertone even with white balance set correctly. I expect this is a combination of purple fringing from the lens and Sony’s weird four-color “HAD CCD” with its RGBE layout, the E being “emerald,” but really meaning something akin to cyan.
  • The hinge between the camera part of the body and the heavier lens part of the body gets loose, and soon either requires partial disassembly to repair, or putting up with the lens flopping into a straight-down position when holding the camera by the grip.
  • There is a tiny switch to change between the electronic viewfinder and the LCD on the back of the camera. Every other bridge camera I’ve owned has an eye detector and switches this automatically, including the Minolta DiMage 7i that came out two years before the Sony.

    The left side of the Sony's body is like a Star Trek fan's wet dream, covered in controls that are fun to imagine using.
    The 4color Super HAD CCD might be at the heart of the F828’s problems.
  • The Auto/Manual Focus switch moves too easily, sometimes resulting in the lens not autofocusing, with little indication in the viewfinder.
  • Although it will take both a CF card and Sony’s proprietary memory stick, the video frame rate is cut in half when shooting to the CF card, which I assume is to bully the buyer into purchasing the always-overpriced memory stick.
  • The menu system is a mess; some critical functions are accessed by pushing the “Menu” button, while others require setting the exposure mode dial to “Set Up.” Then within those dialogs are another mess. While this was common to cameras in the early transition from film to digital (and the migration of menus from film cameras to digital camera), I guess I expected more from a $1500 camera.
It didn't take me long to find examples of the Sony's F828's inclination to purple fringing, as seen in the extreme in this barn image; the holes in the barn should not be purple.
It didn’t take me long to find examples of the Sony’s F828’s inclination to purple fringing, as seen in the extreme in this barn image; the holes in the barn should not be purple.
Operation of the lens itself, a 7.5-51MM F/2.0-2.8, is smooth and precise; a pleasure to use.
Operation of the lens itself, a 7.5-51MM F/2.0-2.8, is smooth and precise; a pleasure to use.

A couple of years ago I half-decided to dedicate this relic to infrared photography, but a couple of weeks ago it killed a CF card, so now I only trust it as a conversation piece. I also don’t care much for Sony as a corporate entity – almost every Sony electronic I ever owned, tape decks, DVD/Blu-Ray players, and amps all died untimely deaths.

One thing the Sony F828 could do well was make gorgeous 14-point sunstars due to its lens having a seven-bladed aperture.
One thing the Sony F828 could do well was make gorgeous 14-point sunstars due to its lens having a seven-bladed aperture.
The left side of the Sony's body is like a Star Trek fan's wet dream, covered in controls that are fun to imagine using.
The left side of the Sony’s body is like a Star Trek fan’s wet dream, covered in controls that are fun to imagine using.

I know, I know. Sony is at the head of the line in camera development at the moment, but I still don’t trust them. If they sent me a sample of their new mirrorless to shoot, I would, but it will take a lot of trust-rebuilding to ever make me a Sony customer again.

And the F-828? If you find one at a garage sale, offer $25 and have fun, but don’t count on this machine as an image maker.

The Sony F828, the Minolta DiMage 7i, and the Fujifilm HS30EXR are show together in my studio today. The Minolta is an old favorite, and the Fuji is my current favorite, but despite its potential, the Sony falls short.
The Sony F828, the Minolta DiMage 7i, and the Fujifilm HS30EXR are show together in my studio today. The Minolta is an old favorite, and the Fuji is my current favorite, but despite its potential, the Sony falls short.
2+

Judge, Jury and Executioner

An Artists of the Arbuckles Gallery staff member prepares to place ribbons on items I selected at their spring photography show.
An Artists of the Arbuckles Gallery staff member prepares to place ribbons on items I selected at their spring photography show.
It was a beautiful day for the short drive from my home to Sulphur, Oklahoma to judge a photography contest at the Artists of the Arbuckles Gallery.
It was a beautiful day for the short drive from my home to Sulphur, Oklahoma to judge a photography contest at the Artists of the Arbuckles Gallery.

A long-time-ago photography student, Royce Gideon, invited me to judge a photography show at Artists of the Arbuckles Art Gallery in Sulphur, Oklahoma. I had no idea what to expect since photography is consistently inconsistent, but I had high hopes.

I drove down Thursday morning and had a look, and found myself in the midst of a some fairly amazing work. (I won’t show their work up close or say who won, since they are not my images. If you want to see them, go to Sulphur. It’s a nice little town.)

The judging process was pretty straightforward, as the staff made notes and placed the ribbons on the pieces for me. I discussed the merits of each winner and they took that down as well.

A reporter from the Sulphur Times-Democrat interviewed and photographed me.

One significant observation: more and more photographers are getting their prints on metallic steel about the thickness of a license plate. It makes for a handsome presentation.

Overall, I was impressed with the work and glad I could participate.

Photographer Royce Gideon makes notes about some of the image on display at the Artists of the Arbuckles Gallery Thursday.
Photographer Royce Gideon makes notes about some of the image on display at the Artists of the Arbuckles Gallery Thursday.
1+

The Love of Teaching

My students and I had an excellent session last night.
My students and I had an excellent session last night.
During the golden hour we were able to use this nice edge light.
During the golden hour we were able to use this nice edge light.

As the years have passed, I find that there are few things I love as much as teaching photography.

It’s fun and interesting, and, like last night, full of “ah ha!” moments for all involved.

The team makes pictures under a pear tree.
The team makes pictures under a pear tree.
After the sun dipped below the horizon, we got a very nice, subtle, rounded edge light.
After the sun dipped below the horizon, we got a very nice, subtle, rounded edge light.

Last night we had a great golden hour, followed by an even better blue hour, followed by a fun indoor existing-light session.

We then finished the night with some after-dark light painting with flash and flashlights.

We all had so much fun we actually ran ten minutes long.

My crew takes time to set up under a pear tree. It yielded the best photographic fruits.
My crew takes time to set up under a pear tree. It yielded the best photographic fruits.
As we stayed out during the blue hour, we came across this tree and used it as a compositional element to create strong leading lines. We were very happy with it.
As we stayed out during the blue hour, we came across this tree and used it as a compositional element to create strong leading lines. We were very happy with it.
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