Still in the pursuit of my goal of catching up with posting past work—before I get into current projects (provided I have time!)—just a month ago I was the main photographer for the wedding of Chelsea and Jonathan Durbin in Louisville, KY. With mostly the same equipment as I used in my previous wedding, and the addition of the Rokinon 16mm f/2, I had my ducks in a row as far as gear preparation goes. In stark contrast to the rustic, small-scale wedding I shot prior, this catholic wedding with a large bridal party forced me to change techniques and styles around to keep up with the proceedings. Thankfully, I enlisted the help of Lisa Britton—another freelancer in the Cincinnati area—to help as backup and lighting assistant (Nikon d7000 with Tamron 24-70mm). As a larger wedding with more events to cover, this post contains significantly more photographs than my previous photo story, so make sure you have the time to peruse through the following. With that, let’s get to some shots! Continue Reading
As much as I do not want to admit it, I am very quickly running out of time to devote to photography, be it for personal engagement or even pay. Graduate work in music performance, my main passion in addition to photography, is surprisingly much more involving than my undergraduate work in music education (what was a very time-consuming major to pursue).
Stubbornly dedicated to a fault, however, I will update this site for as long as I make photographs—no matter how busy other obligations get.
In an effort to catch up, then, a couple months ago I took a brief trip with family to the Daytona Beach, FL area. Only today have I managed to find a bit of time to sort through my photographs, made with my usual Zeiss 32mm and Nikon 85/200mm trinity of lenses on the Sony NEX-7. In stark contrast to my brief trip to Nashville, IN, I kicked back for a good part of my stay, photographing only when I felt up to it, as I knew with the then-late summer heat, humidity, and harsh direct light, photographing during the day would mostly be a pain. Continue Reading
Just like last week’s installment of my 2014 Project 52, I am working one bit at a time towards getting this past summer’s photographs organized and uploaded. On one weekend in-between a three-week sports camp photography gig, my family and I traveled only a few hours north to the small town of Nashville, IN just for the sake of going.
Nestled in the southern portion of Indiana, downtown Nashville is full of dozens upon dozens of artisan shops, stores, and eateries. Surrounded by trees and gardens, each block of the town looks something akin to this:
To continue on with my yearlong project of topic-driven photography, weeks 27-39 threw even more creative challenges my way that unfortunately forced me to do some photographs outside their original time slot. Turns out, it is pretty difficult to manage personal photography pursuits on top of freelance assignments that have to come first. However, in these past couple weeks, I began to catch up in editing photographs for website posts here. To kick things off, let’s get up to speed on the third quarter of my 52 photographs:
Adolescent rabbits are very fun animals to play around with. Depending on their age and fear of humans, you can walk right up to one and almost pick it up before it scurries off. This little guy didn’t know that even when hiding in tall grass with his ears back, a photographer can still see him! Continue Reading
In the world of fast primes, not often are the specs of “200mm” and “f/2” combined in the description of a single lens. Inherently large and heavy, the ultra-fast design of a 200mm f/2 has long enabled photographers to effectively shoot telephoto in very low light as well as create stunning subject separation simply not possible with a 70-200mm f/2.8 zoom. Though the available light advantage afforded by the f/2 aperture is somewhat offset by the high-ISO abilities of modern digital sensors, the extra depth-of-field control still has its place in creative photography. Additionally, when used on an APS-C sensor camera like the NEX-7, a 200mm f/2 helpfully acts as a 300mm f/2.8 would on a full-frame camera.
Though it should come as no surprise, telephoto primes such as the Nikon 200mm f/2 are somewhat bulky and cumbersome even used with a suitable DSLR like a d300 with its vertical grip. When a lens of this caliber is mounted onto a comparatively tiny mirrorless camera such as the Sony NEX-7, the combination looks outright comical. That said, it is far more important to see how the lens performs in front of an unforgiving 24-megapixel APS-C sensor in making photographs rather than how the kit may turn heads at an event. Read on to find out how the 200mm f/2 stacks up as the professional fast telephoto it aims to be. As always, if you are unfamiliar with my lens review style, please read up on this post first! Continue Reading
Last weekend I got the chance to tag along for a short 2.5-day road trip from Kentucky to Oklahoma and back. Though I knew there wouldn’t be a wealth of time for photography, I decided to bring my entire kit with camera, lenses, chargers, and everything else I might need should something break along the way. Though it all filled up the backseats of the car, a lot of my gear saw use, so there’s something to be said for over-prepared-ness. :)
Photo ops only began after arriving in Oklahoma—a time crunch kept me from stopping for photographs along the way. After a nice supper at an Italian restaurant in Edmond, OK, I took a brief look around the small town to come across the Bella Forte glassware studio located in Italian Jim’s Restaurant. One of the artists was blowing glass as I passed by, and he welcomed my camera in the intensely-hot blowing furnace room:
Typical of many small-town areas, a prominent and detailed sculpture adorned a street corner outside the restaurant:
Naturally close to the historic and iconic Route 66, we detoured in the late evening to see if there were any landscapes or old buildings to catch in the fading light:
With the sunlight gone, we made a final stop at Pops, a fun restaurant and gas station featuring an enormous neon pop bottle that lights up in myriad colors after dark: Continue Reading
If you are unfamiliar with this continuing series, please start HERE first!
I have gone through a good amount of photographs requiring the “mind’s eye” style of editing over the past six months, despite my lack of posts in this fun series. The reason I haven’t written posts on any of them? They all fell along somewhat similar processing paths to established examples I have already written about (nevermind the plethora of schoolwork and non-artsy photo assignments, mind you). Before I posted again here I wanted to find something truly different that challenged not only my shooting style but my very way of editing in Lightroom 5.
Why not give astrophotography a try? Easy! I…
a) …do not have a full-frame camera with high sensitivity capabilities (looking at you, Sony A7s)
b) …still do not own any form of a fast wide-angle lens
c) …do not have any form of a tracking mount, including the cheap “barn-door” contraptions
d) …stay up late completing other assignments anyway!
All this said, I couldn’t resist jumping at the chance to create something truly unique and new. Though the following may be old news to many star-gazers out there, fresh trails from the comet 209P/LINEAR intersected with Earth’s orbit early in the morning hours of May 24, 2014 (2-4 a.m.). Originally, 100-400 meteor streaks per hour were forecast, but the actual turnout for many in the northeastern hemisphere was a disappointment at best.
That night I drove out to the most realistically remote location I could to look north in-between two towns for the best chance of reduced light pollution. The meteor shower was forecast to come from the north, but the 3-4 fireballs (yes, that’s right, only a few…) I did see with my own eyes came from all directions. Odd.
Regardless, I blindly set up my tripod and NEX-7 with the Zeiss 32mm to point at various spots on the horizon in the hopes of capturing not only a good landscape, but with luck some star trails and a meteor fireball. I must say that metering and focusing in complete darkness is a disaster for a camera with an EVF and a lens without a hard infinity focus stop. Once I locked in my settings, however, I was good to go.
The first couple shots both looking out at the horizon and the Milky Way turned out alright for photographs without a tracking mount, but I wanted to go for a long-exposure shot to give me the best chance at capturing a long meteor streak, as well as curving star trails. Looking in my manual, I learned that bulb mode on my camera goes as long as the camera’s battery lasts, so with a fresh battery I finally settled on a field with a pond enclosed by recognizable black wood fences, all set against the north sky.
The straight-out-of-camera shot was, as you could probably guess, pretty boring, flat, and seemingly useless:
As a matter of fact, I nearly tossed this photograph out while editing some other shots from that night. But oh, the saving graces of shooting in RAW! There are so many possibilities for non-destructive photo manipulation with even the flattest of files.
For this shot, I decreased the exposure by a stop, and applied two graduated filters to the sky to manage contrast and clarity. This boosted the appearances of the star trails against a darker sky. Since the foreground was then very underexposed, I worked with basic tonal adjustments in shadow and black recovery without affecting the sky. To get rid of vignetting and distortion, I applied LR’s own lens profile (very handy!), and fine-tuned the vignetting removal to get a more homogenous image. To recover lost detail in the far treeline, I applied a light shadow boost brush. For all my best efforts of shooting in a remote location, there is still obvious light pollution from a neighboring car manufacturing plant (despite being over 15 miles away). To mitigate this harsh contrast of colors from ground light to sky light, I subtly altered the individual saturation channels to avoid harsh gradations in color transitions. I also cooled the white balance to a more night-friendly 3500k. The final result? A photo I feel is much more suited to share rather than toss aside:
*Ahem*, that’s not a typo on the duration the photo was made. I left my shutter open for well over 66 minutes to make this photograph. This much elapsed time, combined with the orientation of the camera around the north star, created the long and curving star trails you see above, in addition to the odd colored patches of hot pixels. And hey! If you look closely you can see that a single meteor crossed the top of the image during my exposure! I almost wrote this streak off as a passing jet plane when I began editing this photo. However, planes usually do not fly over this area at this time of night (photo made between 3-4 a.m.), at 100% view at 24 megapixels I cannot find any telltale flashing lights that indicate a plane’s identity, and surely only the brightness of a flaming meteor could have made this bright a streak during a 66-minute exposure! EDIT: Due to the uniformity of the streak, it may very well be a highly-reflective satellite, as a meteor streak this long should show changes in luminosity and color.
I could very well be wrong, but either way I can still dream! Speaking of which, I made the unfortunate mistake of falling asleep in my car while making this exposure, a funny accident that led to the exposure time (originally planned for only 30 minutes).
It’s a shame to read that this meteor shower was a one-off deal. Due to Jupiter’s gravity, the comet’s trail will be pulled out of Earth’s orbit to never be seen again. At the same time, it is awfully exciting to know I possibly captured one of the few witnessed meteors from a once-in-a-lifetime event.
All of this on the night before college graduation. At 9:30 a.m. Yep. That’s photography and I, all right.