Let there be exposure! (part two)

Your Humble Narrator, with his trusty Nikon Coolpix L840 digital camera. Taken October, 2020.

“But you know how it is. It’s like a hobby. Once you take up a hobby, the more interesting and fascinating it becomes.” –Tony Wendice (Ray Milland), Dial M for Murder

It may seem a bit weird using that quote to talk about my growing interest recently in photography (if you missed it, check out Part One of this series!), since in the movie Tony Wendice is referring to his growing fascination with the daily comings-and-goings of the low-life guy he’s soon going to be kind-of blackmailing, and kind-of paying to murder his wife, but the sentiment applies to all hobbies, doesn’t it?

Like most people, my “photography” consisted of snapping shots of things: places we went, stuff the cats and later the dogs were doing, and so on. I just…snapped lots of photos along the way. Sometimes I’d take something and say, “Whoa, that turned out nice!” Most times, though, my photos were strictly utilitarian, and if we were in particularly notable places that lots of people frequented, I suppose I ended up with lots of versions of the same photos that they were taking. And no, there’s not a thing wrong with that. And if I wanted to dress the photos up a bit, filtering apps like Instagram or Prisma came in handy.

But a while back–and I’m not even sure when, exactly–I found myself watching a video by a creator I like, who posts regular slice-of-life videos from her own daily existence, and she made casual mention of wanting to buy a new camera because her old one still worked but wasn’t really giving her the results she wanted anymore, given how technology has progressed along with her knowledge of how to make videos and such. And that point stuck in my head, because I thought of my old Nikon Coolpix L840 that I bought back in 2015. I’d used it a lot, and was still using it, but it was clear to me that I wasn’t going to get a whole lot more out of it.

So I did a quick search on something along the lines of “What camera should I buy”, and you know how you do one search and then all of the content you see online pertains to that? Yeah, that.

I didn’t choose a camera quickly, but I did suddenly start seeing tons of photography-related content. “What camera to buy?” will, on YouTube, pull up all manner of such videos, many of them made by actual photographers, and not just advertorial articles that seem to make a good case until you realize they’re written by and for the company that’s selling the thing recommended in the article.

We like to complain about how a single search fills our social media feeds with crap related to that one search, but sometimes…sometimes, that single search will make the stars align in a certain way that’s actually helpful.

Actual photographers started showing up in my feeds, most usefully in my YouTube feed. Suggested video after suggested video after suggested video, all from photographers offering various teachings on the subject of photography. I watched a few of these, and…I was ready to take the bait, particularly after one thing one of them said. Roughly paraphrasing:

“Do this week’s photos look an awful lot like last week’s photos?”

That was said by a creator named Simon d’Entremont, a professional wildlife and nature photographer from Nova Scotia. I watched some of his videos, and I’ve now subscribed to his channel and look forward to his content, even if not all of it applies to what I’m doing (more on that later). One thing that I’ve discovered in the online photography community, at least the small bit of it that I’ve encountered thus far, is that everyone seems more than willing to share their tips, tricks, and acquired wisdom because they love the craft and they want to see it spread and to have people succeed. M. d’Entrimont closes each of his videos with the hope that his advice can help you go out and take marvelous photos, and the words, “I know you can do it!” I love when people providing informational and educational content take that attitude. It reminds me of Martin Yan’s old cooking shows, in which he always signed off with, “If Yan can cook, so can you!”

More on other specific creators later (in another post). For now, I’ll just say that I did some research on a camera to buy. I thought about taking the full plunge into a DSLR, which would be my first, but I backed off for several reasons. First, my understanding (which may well be misplaced!) is that DSLRs are slowly being edged out by the newest technological advance, “mirrorless” cameras. (Here’s an explanation.) DSLRs still exist but mirrorless cameras are taking over, and I’m not educated enough in photography to know if the mirrorless tech is totally established yet. A major technological paradigm shift is a bad time to jump into a new hobby!

Secondly, DSLRs and mirrorless cameras are the types of systems where you buy a camera body and then lenses to use with it, switching out your lenses depending on what you’re doing. That means a lot of added expense; good lenses can run into four-digit territory by themselves! Now, I know that photography isn’t a cheap hobby, but it’s still one that…well…put it this way. At this point I am not comfortable enough with my knowledge and skill to justify spending a significant amount of money.

And there’s still a whole lot to learn! See, my good old Nikon Coolpix L840 takes nice photos and video (more on that below), but everything it does is through established modes and pre-programmed scene filters. And that is the biggest area of learning opportunity for me right now, when it comes to photography. In addition to continue challenging myself to compose my photos more skillfully and put some real thought into what kind of photographic content I want to create (and more on that in the next post as well!), I also need to learn the actual nuts-and-bolts of photography. I need to learn about the “exposure triangle”, about things like ISO, aperture settings, and shutter speed. I need to learn how to use those tools and manipulate them to get the image that I want…and I also need to strengthen my photo-editing chops as well, beyond applying this Instagram filter or that Prisma artwork AI application.

I took a lot of really good photos over the years with that trusty L840…but I wasn’t going to get better.

And since I decided there’s more than enough to learn without going fully into changing lenses and all of that, I decided to buy a bridge camera. What’s a bridge camera, you ask? It’s the in-between camera. A bridge camera is more capable than a simple point-and-shoot camera (which have become pretty damned capable in themselves, let’s be honest), but it’s not the full changeable-lens, shoot-in-manual-RAW camera either. (Well, it does those last things, but bear with me.) In short, a bridge camera is the ideal tool for me at this point in my decision to learn more about photography.

But which bridge camera to buy? Well, that took some research. I had a great experience with the L840, so when I need a new thing to replace something that worked well, I’m usually likely to look at the same brand again. And I was very tempted by the Nikon Coolpix P1000, a true behemoth of a camera that apparently boasts the biggest zoom lens in the bridge camera market. I mean, look at this camera! All together now, Star Wars fans: “Look at the size of that thing!”

Why didn’t I get that one? Size, basically, and a number of reviews indicated that if you need that much zoom, you’re really better off with a good DSLR or mirrorless system and a good, high-quality telephoto lens. And the P1000 apparently weighs more than three pounds, which is a lot to lug around. While I haven’t totally settled on the kinds of photography I want to do, I’m likely to be a camera-lugger. I’m wanting to travel more in years to come, and a 3.5lb camera isn’t the best travel option out there. I’ve read good reviews of the P1000 and I’m sure it’s a very fine instrument, but I decided it wasn’t for me.

I seriously looked into a camera by Sony, the RX10 IV (stay tuned another time for my extended rant on naming and numbering conventions for electronic devices; this shit is getting confusing), but while reviews of it seem to consistently rank it as the best bridge camera, it’s also expensive enough that if I’m spending that much, I might as well spend a bit more and commit to the changeable-lens game (which might well be in my future, but not for a while yet).

Through all this I found myself gravitating toward the Panasonic Lumix FZ1000 II, and when I found one on sale in a package deal on eBay that included a small camera bag, a cleaning kit, a pistol-grip tripod, a Gorilla-style tripod, and a couple of other goodies for a hundred dollars less than the camera’s suggested retail price, well then. That was the play.

And here it is, sitting alongside the old L840.

Oooh! Aaah! (Funny that I’m taking pictures of my cameras with my phone.)

Kind of reminds me of Star Trek III, when the Enterprise is dwarfed by the Excelsior! (Yes, I can make anything into a Trek or Wars reference. Anything at all.)

Oh, on video: one thing that I always found disappointing about the L840 was the video quality. Not the video itself; the footage looked great, and I thought at one point about using that camera to film videos if I started adding “vlogging” to my roster of content-creation habits. Sadly, the camera’s microphone wasn’t up to snuff for me. If recording inside, it was OK but not great, but recording outside wasn’t great at all. It would pick up wind noise something awful, and there is some footage I took with this camera that simply isn’t useable because of the wind noise the camera picked up. (Yes, one of these unreleased videos involves pies.) Worse, the L840 has no provisions for connecting an external microphone, so the workaround was to either use the L840 in conjunction with my phone, which does allow for external mike, and then sync the sound together in the editing process…or just use my phone for the entirety of whatever video work I wanted to do. I found that deeply disappointing, for various reasons. (Now, at the time I bought the L840 I wasn’t really thinking in terms of video, so I never looked into the microphone situation. I can’t blame the camera for not being great at something I didn’t really intend to do with it when I bought it.)

The FZ1000 II, however, does take very good video footage and it takes an external microphone, if desired. So I’m covered there. As of this writing, I have not looked into video recording yet…but I will. Oh yes, I will. Indeed!

I’ll wrap this up here, as this is getting long. Next time I’ll discuss and present some results from my first month or two with this camera. But before I go, here are two photos I took at Knox Farm State Park, where I went to do my first real “shakedown cruise” with this camera. This is a demonstration of the camera’s zoom, which is considerable, if not quite as jaw-dropping as the adore-mentioned P1000. For both of these photos, I was standing in the exact same spot.

Stay tuned!

 

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Tony

Thank you for the music, sir. What a life.

I’m not one to appoint “golden ages” of this or that, but…there really is something awfully and uniquely special about the first half of the 20th century in American popular song-writing, isn’t there?

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Random unrelated thoughts that are actually quite related

First thought: I’m getting really tired of the prevailing response to news of just about any garden-variety street crime being a roll of the eyes, followed by, “See? Bail reform!”

Second thought: Americans are very, very, very bad at seeing how societal problems tie into one another. Every issue is treated as a distinct problem to solve, which ultimately ends up meaning that none of them really get solved.

Third thought: You’d think more people would realize that maybe a country that incarcerates more people per capita (and in sheer numbers) than any other country on earth should start looking for different solutions to crime.

That is all.

 

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Tone Poem Tuesday: Farewell, Andre Watts

Pianist Andre Watts has died.

Watts was 77 years old when he died of prostate cancer last week. Born in 1946, Watts was best known for his expressive performances of piano music from the Romantic and early modern eras, which constitute the bulk of his recorded work. His music-making was always fiery and emotional, which I always appreciate; emotional distance and cool temperatures are never what I look for in music. Here is a selection of remembrances of Watts.

In this selection, Watts performs the Piano Concerto No. 2 in G minor, by Camille Saint-Saens. The performance is taken from a live broadcast of the New York Philharmonic, so you actually get to hear Watts discuss the music for a bit prior to the performance itself. Saint-Saens himself was a long-lived French master who was as much a child prodigy as Mozart, but whose work hasn’t quite endured as Mozart’s did; Saint-Saens is represented in the standard repertoire by a number of works, but others sit in relative obscurity due to his occasional lack of attentiveness and depth. The best of Saint-Saens is almost always pleasing music, if not particularly profound; the standard quip about this concerto is that “it starts with Bach but ends with Offenbach”. This concerto’s moods shift from solemnity to playful dance and then to pure minor-key speed, all of this steeped in late-19th century urbane Parisian sophistication. Of particular pleasure is the ending of the second movement, just before the storm of the last erupts; and I challenge anyone to claim to be unexcited by the blaze with which the entire concerto closes.

Here is Andre Watts performing the Second Piano Concerto by Camille Saint-Saens.

 

 

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Let there be exposure! (part one)

But…what kind of exposure?

Well, a few weeks ago I bought a couple of books:

And I also bought something else:

Yes, that is a new camera. A Panasonic Lumix FZ1000 Mark II, to be precise.

What brought this on?

Well, I’ve loved taking pictures for years. I suppose I got bit by that particular bug in college, when all my friends had cameras. Growing up, my family was not much at all for picture-taking. I remember the last camera we owned being the kind that took the plastic film cartridges. Remember those? All-in-one cartridges so you didn’t even have to feed the film yourself at all? My memories of the camera itself are very vague, as I wasn’t allowed to use it (probably with good reason). We didn’t even get prints made when we used that camera; I remember that we had a slide projector so we’d get slides made, and once in a while we’d break out the projector and look at the slides on the wall. (No, we didn’t have a screen, so a white wall–which was usually textured–served as the screen.) Sometimes when we were on trips my father would buy a strip of pre-made slides from wherever it was we were visiting.

I don’t think we used that slide projector at all after our last move, the one to Allegany, NY in 1981…I don’t even know if the projector itself made the move with us. I know it wasn’t the kind of slide projector with the carousel in which slides traveled; ours had little cubes that held the slides, I think. It’s entirely possible that my memories here are completely bollixed, but the point is, I didn’t want a camera until I was in college. I asked for one for one of those Christmases, and my parents obliged; and thus I joined my classmates in chronicling my adventures on film.

Even then, though, I was just taking snapshots of stuff here and there. I had no interest in photography, much at all. This remained the case into our entries into the digital camera age. I bought our first digital camera in 2004 or 2005, roughly; being able to take pictures and transfer them to the computer without scanning them first was pretty amazing, as was the idea that you could see instantly if your photo sucked. Of course, we upgraded that digital camera, then we upgraded it again, and yet again. We went from an Olympus in 2004 to a Kodak in 2007 to a Canon in 2010 and finally to a Nikon Coolpix in 2015.

Along the way, of course, came our phones, which also took digital photos with increasing quality. I shudder at the terrible resolution of that Motorola Razr phone, all 1 megapixels of it…followed by a phone whose brand I don’t remember, followed by my Samsung S4, then my Samsung S8, and currently, my Samsung S21. When I bought my current phone in fall 2021, I wanted to upgrade my phone’s picture-taking as much as possible because of our then-impending trip to Hawaii, and this decision has served me well since.

Well, as my gear has improved over the years, so has my interest in taking better pictures–if not quite an interest in photography. I think those two things aren’t quite the same, to be honest. But…over the last year…I think the former has become the latter.

More to come on that, though….

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Striking

I’m generally of the view that ownership, or management, or capital, or whatever should almost never be listened to or taken seriously during times of labor strife, and that in such times you should listen to the striking workers. Not working is always the last choice, for obvious reasons, and when it gets to that point, things are generally well and truly bad.

Writer Mark Evanier has been one of my go-to sources for the ongoing Writers Strike in America’s teevee and film industry. This post is a good example of why:

This includes putting up with the most maddening part of it: Hearing some guy who gets paid a zillion dollars a week tell us that the business is hurting and there’s simply no money to give to us. When I hear this — and we always hear this — I always think, “Your only responsibility is to make as much money as possible for your company. If it’s doing that badly, shouldn’t you be fired?”

While we’re toughing it out, it would help to think about preparing for the next one. If we take a terrible deal this time, the next one will come sooner and be a whole lot worse.

If the last few years haven’t driven home the degree to which labor is getting short-changed their share of the spoils from record profits, I don’t know what kind of economy will.

 

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Searching for Jose Iturbi

Seventy-eight years ago today, the movie Anchors Aweigh was released.

Anchors Aweigh might not be quite remembered as one of the classic musicals, but it’s a damned good one, if a bit overstuffed and overcomplicated in its story. The story: two Navy sailors, played by Gene Kelly and Frank Sinatra, are on leave in Hollywood. Kelly is a ladies’ man, while Sinatra has no luck with the ladies (you can tell right there the level of movie fantasy we’re engaging), and they strike out for a night on the town, with lots of implied debauchery (at least for Kelly). But they are brought in by cops to help out a kid, played by a nine-year-old Dean Stockwell, who thinks he’s going to join the Navy. They take him home and meet the kid’s mother, who is a young singer who wants to sing in the movies. Our sailors somehow (it’s been a while since I saw the movie) get the idea that telling the mom that they can help her because they know famous composer/conductor/pianist Jose Iturbi (which they don’t), and all manner of shenanigans ensue. First Sinatra is in love with the mom, but then he falls out of love with her and in love with a waitress, while Kelly falls in love with the mom too, and the kid is there, and…yeah, it’s a really convoluted story for a movie of this type! But all of that is mainly set dressing for the songs, and Anchors Aweigh has a ton of them, each one with a lot of charm. The most famous number is probably the fantasy sequence in which Gene Kelly dances with an animated Jerry the Mouse…but they’re all nice, including this one, where Kelly and Sinatra tell some sailor buddies all about their wild exploits with a couple of girls.

Spoiler: this is all bullshit. None of this happened, but they gotta save face, right?

Anyway, Anchors Aweigh is a terrific movie. It’s not a great one, but it’s got a lot going for it and in fact the good stuff in it is so good and so plentiful that you forgive the movie’s flaws.

 

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