I am not a particularly good businessperson.

I run a solo medical practice which in these days is folly by definition. I do photography, and sell images off and on. I write a blog for free.

What I’m trying to say, is that I may not be the best person to criticize an iconic leader in photographic imaging like Nikon, in their business decisions.

But…. the web has created a forum for ill-informed and under-qualified people to comment on topics where they are out of their depth.

So here I go.

Nikon has introduced the long rumored 36mp FX format D 800. It is considered to be the replacement or upgrade for the for the 12 mp FX d700, still a favorite among working pros for its modest size and weight, robust body and weather sealing, great  image quality, and wonderful low light capability. It‘s slightly crippled by what is now thought to be a limited frame rate of 4/second.  The D800 will sell for around US$ 3000.  As a landscape photographer, I may well buy one.

The physics of the D 800 sensor (pixel pitch) suggests that it will perform similarly to my DX format, prosumer D 7000. This is no bad thing, as I am rather happy with the files from that imager. The older D700 however has superior low light capability, overall cleaner images (megapixels aren’t everything) and more than sufficient resolution for most uses. Want to print  20″x 30″… not usually a problem.

Addendum: newer samples posted on the web suggest that the D800 high ISO capabilities may be equal to or at least approach the D700.  If so, wow!

What I don’t understand is the logic of Nikon’s current model lineup.

The flagship Nikon supposedly is still the D3x, which at US$8000 and 24 mp, has 33% lower pixel count,  roughly the same high ISO capability as the D800 (or maybe inferior) and is $5000 more expensive. The D3x has some advantages, such as a somewhat more robust build, vertical shooting position, and a longer shutter life, but the advantages don’t seem like enough to justify the price differential.

Announced right before the D 800, the D4 is a US$6000 FX 16MP rapid fire (11 frames per second) high-end body pro camera body (similar build to the D3x), which we assume will be very strong also in low light situations. It’s aimed at sport photogs and photojournalists.

It has a new and very capable autofocus system (but the same as the D800). It has outstanding video features, which are also essentially identical to its significantly cheaper, higher-resolution and newer “brother

I “get” the concept of the D4. Resolution beyond a certain point isn’t that important, but for shooting sports, speed and autofocus is everything.  The D800 frame rate is significantly slower.

I think of all the bodies in the Nikon lineup, the D4 is best tailored to for its intended use.

So why make the D800 36 MP? Why did they not recycle the D3x sensor, perhaps improved, but in the smaller body form of the D700 ( something like they did with the  D3 and the subsequent D700), and save the 36MP sensor for a D4x? Who will buy D3x now? And just how many megapixels can we jam into an FX-sized chip before negatively impacting the file quality?

I do hope they will continue to produce a D700, or a similar body well into the future. May be there could be a D700s with the D4’s sensor.

It is also worth considering that such high-resolution sensors require very high quality lenses, and very disciplined shooting techniques to exploit their full potential. This may be why Nikon realizes that the D4, the true working photographer’s camera, will be just fine with half the D 800’s megapixels.

The good news is that Nikon just put their highest resolution sensor, in a body I can probably afford. The bad news is that I may need to invest in even better lenses than I own, to make it work.

I might just rather have access to the D4 imager, at an even lower price.

I can do a lot with 16 million really clean pixels.

I have an image on my den wall of a rhodora bloom.

It is a flower that grows in the scrub oak barrens adjacent to my community here in Northeastern Pennsylvania. I have been told by naturalists that this is an anomaly, because it’s only supposed to exist much further north.

I shot that image with a 4 megapixel Nikon Coolpix 4500, which some of you may recall, was the final high-end iteration of the original twist body Coolpix. I have printed it at 8”x11” and larger, and love the image. It looks good to me even 7 years after it spit out of the Epson 2200 that I used in those days. And I have become very critical of images over the years.

Now I have owned a large number of compact and bridge cameras over the years. I printed and enjoyed many landscape images captured with non DSLRs in years past. Nowadays, I am somewhat unhappy with using a compact camera for this purpose, even the so-called “premium” compacts such as my Panasonic LX 5. I get many less images nowadays from small imager cameras that I would consider using, let’s say, in an exhibition, whereas in the past, I have used such cameras to confidently decorate gallery walls (and make sales).

Given some discussions I have been involved in various photographic forums, I have begun to wonder just how much better off we are , in terms of small-sensored cameras, than we were in the earlier period in the digital photography, when there were less pixels on small sensors than now.

I shot over the years with many “bridge” cameras in those days, sometimes side-by-side with DSLRs in the 6 MP range. My memory is, that whether it was a Nikon Coolpix, 900/4500 (3 and 4 megapixels respectively), my 4/5 megapixel Olympus E10/E20 or an Olympus C 5050, the files (I shot in those days mainly JPGs) were usable for landscape images, and that the images were pleasing to the eye, even printed at 11×16” or even occasionally at 13x 19”.

Now it seems to me small sensors seem lousy, not only relative to larger sensored DSLRs but even compared to older imagers with half the resolution. I can’t tell if I’ve become spoiled by the likes of my D 700, or whether packing those tiny sensors with as little as 10 MP is having a deleterious effect on certain,  intangible measures of image quality.

Obviously, this discussion should be limited to base ISO. Even a 2/3” sensor such that came with the Olympus E 20, was horrible above ISO 200. A Canon S 100, LX5 and certainly the new Fuji X10, would wipe the floor with them at higher sensitivities.

But I do wonder whether there are other advantages of bigger pixels, even big old technology pixels, have characteristics that make up for the advances that have come since.

This is a 100% crop of an image shot with my Olympus C 5050 from a kayak in 2004. It makes a nice 11’x 16’ print, like many others from that camera. And, it was shot in RAW at ISO 200, miraculous for a bridge camera of that era. My other cameras at the time included a Fuji S2 pro. I often printed and sold images from the Olympus, again limited somewhat  in size relative to the Fuji. In this image I particularly notice the lack of noise, and reasonable detail.

Here are two images: one from my 2005 vintage Fujifilm E 900 which at the time was considered a marvel at high-resolution, High ISO (800 ASA max) shooting in a compact

.

It sports the same size 1 1/6” inch sensor as the LX5 which I used to take the other image. These were shot at ISO 400 in raw format, had the same exposure settings at f4, were corrected with the same settings in ACR, and sharpened with the same unsharpen mask settings in Photoshop.

I’m not saying that there’s no difference. I think the Fuji noise is coarser, and there could be a smidgen more color noise. Detail seems about the same. Now the E 900 sensor is 9 MP and of the so-called “SuperCCD” design, so famous in the F 30/31 Fuji compacts These were the cameras that arguably started the craze toward lower resolution, higher sensitivity sensors ( I still have one). I do feel however, that given the 5 years between models, the differences are modest. I’m pretty sure that the E 900 would compete nicely with many other modern imagers.

It should also be said the ergonomics of the LX-5 are significantly better than the older camera making it much more usable. Oddly enough the E 900 may have the first compact that disappointed me with it’s image quality (maybe because the size of the megapixels).  I did get some keepers( see December 2013)

Now that having said all that, the Panasonic can render details nicely, if shot right. Here’s a 100% crop of an image I took with the LX5 recently, also at ISO 400 .

What’s my point? I ‘m not sure there is one, except perhaps that as photo gear enthusiasts, we are seduced by the power of industry marketing,  which is aided at times by enthusiast websites who are connected to photo gear suppliers. Imagers are getting better, but perhaps more slowly than we think.

If you’re going to buy a new camera or camera body, make sure it functions better for you. Test it against the gear it’s set to replace. If it’s not truly more functional, don’t be afraid to send it back. And make sure that you buy  from reputable dealers that will allow you the privilege.

Also once in a while, If you have an older camera on your shelf, pick it up and shoot it. Print an image. You might be shocked just how much you like it.

These are the images from the 2011-2012 John Heinz, Allied Rehabilitation Calander.which we produce each year to benefit the pediatric rehabilitation programs at both campuses.

This is the third year  for this publication, for which I am honored to supply the photographs. I thought it might  be interesting to offer more information on the images that were ultimately chosen for this year’s calendar as well as the equipment used to acquire them. I hope it adds to the enjoyment for those who of you who have one  hanging on your wall. If not, you can purchase one here.

Cover: White Horse at Hillside

Panasonic Lumix G1, Lumix 14-45 f3.5

It’s no coincidence that our cover images have tended to be
shot at this unique location.

 The Lands at Hillside is a regional treasure, a non-for-profit organization whose mission is to preserve one of the most beautiful and historic farm properties in
Northeastern Pennsylvania: the historic Conyngham farm on Hillside road in Dallas Pennsylvania. The farm as currently run promotes sustainable agricultural practices, with grass-fed cows producing milk free of supplemental hormones. This milk can be purchased, along with many other natural food and craft items, at a retail outlet on the premises.

The farm also serves an educational site, where children and adults can be introduced to the dairy industry and milk production, as well as environmental issues. It is my honor to serve on the Board of Directors of this fine institution.

The image itself was captured in mid-February of 2010. I
recall hoping to photograph the animal out in the field, against a snowy
backdrop. However, a charming if frustrating characteristic of the species is
curiosity. Once a horse senses your presence, they invariably have to
investigate, a behavior that has spoiled many potential pastoral landscape
photos over the years. I do think however, that in this case,  the image captures nicely,
this element of his personality.

January: Winter Scene, Bear Creek Lake

Nikon D2x, Nikkor 17-35 f2.8

Bear Creek Village is a wonderful and historic summer resort community built around an impoundment at the confluence of several streams at the base of the Pocono Plateau.
The village and its surroundings are very picturesque and I often find
myself shooting there when conditions are right.

This image was captured in January of 2008 after a six-inch
snowfall freshened the appearance of the existing snowpack in our region.

The D2x combined with the excellent  Nikkor 17-35mm f2.8 lens, allows
impressive depth of field and detail to be revealed.

February: Hemlock Temple

Nikon D7000, Nikkor 16-85 f3.5

When most people think of Rickett’s Glen State Park, they  tend to think of
the Falls Trail, and the multiple beautiful waterfalls along the way. There is
however another area in the park that I love to visit. On the south side of route 118, beyond Adams Falls, is an area known as the Hemlock Temple, an example of a
true old growth stand of White pines and Hemlock.

Though not quite as impressive as “Forest Cathedral” at Cooks Forest State Park in western Pennsylvania, it is beautiful nonetheless, with huge conifers, some of which were adolescents when Columbus reached our shores.

On that day last February, I was snow shoeing among those
stately giants. The snowpack was deep and the trail unpacked, as it is not well
visited in the winter. It was a bit of a struggle to explore.

I remember shooting this image the lens stabilized on the
crook of two crossed ski poles to dampen the effects of a bounding heartbeat.
It seemed to have worked.

March: Barn at Herrick’s Corners

Fujifilm S3Pro, Tokina ATX 28-80 f2.8

March in our part of the Northeastern
US is for me one of the most challenging photographic months.

Winter is fading leaving behind a landscape scarred by
snowplows and cinders. Nothing much will bloom until April. Opportunities for
shooting landscapes are slim.

March can also be a snowy month.  Now I like snow, but by St Patrick’s Day,
most people want it to just go away. Those people probably include those of you who buy this calendar. So I usually try to find snowless images.

Given the lack of action in the natural world, I find myself
shooting a lot of images with barns and buildings in early spring.

This particular image was shot near the Elk Mountain
ski resort in Late March of 2006.

I like the collection of cars and farm equipment in the
field which I suspect remains there to this very day.

You can tell it’s late in the month by the slight red blush of the maple trees in the background as their buds swell in preparation for the warmer times coming.

April: Stone Wall, Lackawanna State Park

Nikon D2x, Nikkor 16-85mm f3.5

By April, particularly late April, things are starting to
happen. Buds are opening, trees and flowers blooming.  In late April of 2008, I visited Lackawanna State Park. This is a nice “day use”
park with a number of nice visuals. I was particularly taken by the intricate network of
stone walls that exist throughout the park.

I was drawn to this scene in particular by the sunbeam that
broke through a gap in the hemlocks to illuminate the spot.  I left the subtle sun flare in the image for the final version (it’s 2/3 of the way to the right, on the very bottom of the photo).  I think it adds context to the image.

May: Spring Blooms in Butler Township

Panasonic Lumix GH1, Lumix 14-45 f3.5

This spring seemed to take a long time to be fully realized.
April was wet and cold seemingly suppressing the “leaf out” until much later
than usual. In early May, we finally had a period of warm clear weather and the
foliage erupted with what seemed to be pent-up energy.

This image was shot near my office in Drums, after work was concluded for the day. The blooms to me seemed to be bursting out like fireworks, and I remember feeling grateful for the warm sun on my face, and for the thought that spring had finally, really arrived. It was featured in this article on the site.

June: Early Summer Corn, Hamlin

Fujifilm S5 Pro, Nikkor 16-85mm f3.5

I found this scene in late June 2008, returning from Goose
Pond Boy Scout camp, having just dropped off my son for a week with his troop.

I remember driving past, and observing the farmer, cultivating his hilly fields. By the
time I stopped and set up he was driving downhill, which didn’t seem as
aesthetic. I waited until he turned around, and proceeded uphill again, before
tripping the shutter.

By the way, note once again, the use of the Nikkor 16-85mm
f3.5 on another Nikon mount DX sensored camera. This is a versatile, high
quality lens with image stabilization and crisp optics. It is a light,
relatively inexpensive lens that I find really useful. If you’re a Nikon DX
shooter, add it to your kit. You won’t regret it.

July: Kayaks on the Susquehanna

Olympus E 510, Zuiko 14-42mm f3.5

Some days and events remind me that life is wonderful.

In this case, it was a July Saturday in 2007 when my son Gus and I attended the annual river trip sponsored by the North Branch Land Trust. It was a wonderful event. We entered the river near Wysox, and “put out” at Laceyville. It was a great day. It is easy to forget what a wonderful resource is  the Northern Susquehanna.

During the 4 hour river trip, we saw Bald Eagles, Blue Heron
rookeries and scenery gorgeous at a level that we don’t often connect with our
region.

I met a large number of friendly people.

I took this image at the lunch break when everyone “put in” on
the river bank. I was struck by the beautiful background and the brightly
colored kayaks in the foreground. The use of a circular polarizer on the lens really enhances the colors of the boats, the foliage, and the sky.

August: Monarch and Goldenrod.

Nikon D700, Nikkor 85mm f1.8

This was the scene on the Farmstead Trail at Nescopeck State Park which is essentially in my neighborhood.

It was a sunny late August day, and I decided to play around
photographically by limiting myself to the D 700 with a single prime lens. In
this case, I chose the Nikkor 85mm f1.8. I knew that the lens’ sharpness, and its ability to produce a shallow depth of field, would be major optical features to utilize.

I was walking in the middle of a field of goldenrod when I
spotted the Monarch wafting from cluster to cluster of the bright yellow
blooms.

To shoot this butterfly, I had to stalk him a bit, as he didn’t
seem to want to cooperate. Finally he landed near enough to me that I was able to frame
this image.

It was ultimately featured in an article on this blog called
“Eighty five millimeters”, which discussed shooting with a single focal length lens.

September: Black Eyed Susans at Hillside

Panasonic GH1, Lumix 20mm f1.7

Once again The Lands at Hillside are the subject of
an image, in this case, take at the rear entrance to “The Cottage” a gorgeous
late 19^th century summer “cottage” on the property that is
undergoing restoration.

The home has three stories, beautiful common rooms, multiple
guest rooms, original servants quarters, and a newly installed commercial
kitchen. It is truly spectacular facility, and is fast becoming a popular choice for weddings and other gatherings .

The small sensored GH1 normally isn’t the best choice for
shallow depth of field, but the Lumix 20mm lens I think pulls it off nicely
here.

October: Falls at Nay Aug Park

Nikon D700, Tokina 28-85mm f2.8

Nay Aug Park holds a lot of memories for me. Located on the eastern edge of Scranton
it has nice mix of facilities, including a pool complex, pavilions, and picnic areas.

There is also a trail that leads from the park down into a
gorge through which flows the aptly
named Roaring Brook. There is large waterfall with a deep splash basin
where generations of Scrantonians gathered their nerve to dive from the rocky
platforms above.

When we were students at the University of Scranton,
my wife and I often walked there in the evenings after class.

This image was captured from a tripod on observation
platform overlooking the falls in October of 2011. Note the lack of reds in the fall foliage,
the probable result of a fungus that particularly affected the maples, causing
their normally crimson leaves to “brown out”. It is said to be the result of the very wet summer and fall we have experienced this year. You can see the vertical version of this image in the article at the link.

November: Train Station at Hunlock’s Creek

Panasonic Lumix GH1, Lumix 45-200mm f4.0

November, like March can be tough for photographers. In most
cases, around these parts, the foliage is gone and the scenery bland, if not
dreary. One needs to find either foliage that changes later in the season, or
a locale where the season is delayed. In this case I chose the latter tactic.

Last November, I took a drive along the Susquehanna River
south to Berwick, thinking that the since the river flows at the lowest
altitude in the region, I might have some luck with late fall color.

Driving down route 11 I have often noticed what I understand
to be an old abandoned train station.  I pulled over and set up a tripod. I liked this angle in particular, emphasizing the buildings unusual “pagoda” architecture, and the clearly late fall look of the sycamores and maples. I used a telephoto focal length so that the trees
behind the building would be moved closer to the foreground.

December: Christmas Farm

Nikon D700, Tokina 28-80mm f2.8

Although most of these images are shot in the course of day–to-day shooting, there are definitely times when I set out to capture an image depicting a particular month or season, for use in this publication, . December, for instance is definitely a time when I  often shoot specifically for the calendar. I was thus pleased back in December of 2009 to come upon this scene, which to me evokes a sort of Norman Rockwell feel.

Now, photographing  people’s properties is legal from a public road.
I am very careful not to trespass. If I have no permission from the owner,
I try to shoot scenes that only involve what a passerby might see driving
past.

Sometimes, people are suspicious when they see me with a
camera pointed at their home. It can be easier sometimes to avoid conflict and move on.

If the scene is really compelling, I will stop and explain. That usually works.

On this occasion I encountered this scene at 4:30pm in early
December 2009. There wasn’t much light so I set up a tripod, which takes a
little time. As I worked, a car pulled in to the driveway driven by the property owner. I introduced myself, and explained the calendar, it charitable purpose, and that his home might someday be featured. He was very friendly, and seemed excited at the prospect.

I hope he likes the image as much as we did.

January 2013: Engine at Gracedale

Fujifilm E900

This image was taken at the Gracedale railroad yard, located  along route 437 in Mountaintop,. It was taken late in the afternoon, and late in January of  2007. I recall that it was quite cold and that snow was just beginning to fall. I drive past this scene every day, but at that moment I was struck by the contrast  between the bright green and yellow of the engine, and the dull greys and browns of the background.

The camera is an interesting little point and shoot, manufactured by Fujifilm.It was my “glove box camera”for many years. It produces great images and shoots in RAW, a rare feature for a compact camera in those days.

I have always like Fuji imagers. They have been known in the photographic community over the years for a flattering color profile, and high-resolution relative to the actual number of pixels on the chip. I have always felt that film manufacturers  have a natural advantage for certain aspects of  digital imaging, particularly in chip design (Kodak has produced nice imagers also). About three years ago, they stopped producing serious photo tools, filling their line with mediocre consumer cameras.

Now, Fuji is producing some wonderful cameras again. I have my eyes on several of  their new offerings.

Back Cover: October day at Lake Scranton

Nikon D7000, Nikkor 16-85mm f3.5

I have wonderful memories of Lake Scranton.
It’s another place where I courted my wife in college. I remember long walks
around the lake in the spring and fall.

I hadn’t been there in many years until I visited in October
of this year, camera in hand.

Things have changed a bit. I remember walking a gravel foot
path. Now there is a paved road around much of the lake. The scenery is lovely;  a jog around the lake remains a wonderful way to spend an hour or so exercising in the outdoors, minutes from the city.

I walked around a portion of the lake wanting an image
depicting the usual activities that occur there. We thought that this image makes
sense as a rear cover, given the vantage point from which it was shot.

Well, thanks for visiting. Feel free to explore the rest of the site. We love to get feedback.

If you bought one of our calendars, thanks for helping the children.

Every year in the Northeastern U.S.,we are lectured by meteorologist types about the linkage between the climate, and the quality of the fall foliage.

Now, it seems to me that most fall seasons are reported to be
drier than normal. This tends to result, we are told, in attenuation of the
colors of autumn leaves, and thus a dull 3^rd season.

Now it seems that whatever happens, the fall colors suffer.

This year, the spring summer and early fall were much wetter
than normal. Seasonal totals are significantly higher at this point in the year that an
entire years precipitation from as far back as 1951. It has rained a lot in the last 6 months.

And interestingly,  the foliage has suffered. Issues became apparent in mid
September when Maples, and some Oaks, did not assume their usual autumnal display
of reds and crimsons, but turned brown, and shriveled on the tree. Apparently
the wet conditions caused a normally inconsequential fungus to become a
problem, injuring several tree species, and causing their leaves to bypass the
fall colors we look forward to.

This affected mainly the reds of the season. The birches,
beeches, and some maples still turned yellow or gold. The deep crimson of many oak species less affected by the fungus, were also dulled looking, definitely more brown than red.

Many leaves just fell. By mid-October which is usually “peak
leaves” in these parts of Pennsylvania, the canopy was almost completely open, its leaves brown, and trampled underfoot.

As a landscape photographer, you do what you can to find beauty,
when nature conspires against you.. You look for isolated scenes with good
color. You include geologic or man-made artifacts into images. Or, you look for
patterns and texture.  Black and White can work when the foliage is dull. You try to make a silk purse from a sow’s ear.

Finally, on the 28^th of October, nature lobbed a softball to those of us that shoot outdoors. The Pennsylvania Mountains received nearly a foot of snow, while there was still some color on the trees. The snow created a new canvas
on which to depict the fading autumnal display, and grab a few more images
before things fade  to the dull façade of November. The white stuff lasted several days before succumbing to the late October sun.

Now, I look out my window to view a scene cloaked in the
browns and grays of the early winter. It’s early in the morning as I write this;
a heavy frost clings to the fallen leaves and grass.

There are still things to photograph in a Northeastern
Pennsylvania November. I’ve written about it here and here.

But for me, this weekend, I will put away the camera gear
and break out the leaf blowers and rakes to deal with the remains of last year’s
fall scenery,  a good bit of which now covers my lawn.

Soon, the snow will fall, and hopefully stay.

 

There are very few retailers on this planet anymore that care for their customers and strive for excellence.

B+H photo is clearly one of those businesses.

I have previously described my issue with the Panasonic DMW-LVF-1 View Finder. I called the center suggested in the letter sent by the first Panasonic facility that had returned the finder unrepaired. They claimed to be a parts center and had no repair options. I called Panasonic support again and explained the situation. They told me that they would get back to me. They haven’t as of yet. And its been over a week.

Feeling really frustrated, I contacted Henry Posner, who many of you may recognize as B+H Photo’s web troubleshooter. Henry
is active on web forums addressing the few problems people have with this
iconic NYC photography retailer. He’s helped me out in the past.

At first, Henry offered to put me in contact with Panasonic people. I’m not sure what happenned with that idea.

Now I have been given a return authorization for the item, even though it is well beyond the point where B+H would be obliged to deal with me.

On receipt of the viewfinder, they will replace it. Wow! And thanks.

Now having said all of that, I not naïve. There’s a business model at work here, and it’s a good one.

I don’t know whether B+H is operating on the moral code of taking care of their loyal customers, or whether they are merely looking at statistics and deciding that I buy enough stuff from them that this gesture is worthwhile fiscally. If they’re smart, and they are, it’s
both.

In general, if you hunt around the web, you can find photo (or computer, audio, or audio visual) gear a few bucks cheaper than the price on the B+H site.

If you truly count on your equipment however, those few dollars are absolutely worth it.

Trust me on this.

Last spring, as sometimes happens; I developed an” itch” to
buy some new photo gear.

Now logically I really didn’t need anything new. I
actually could stand to sell something as I have several DSLRs I no longer
really use, and should probably place on EBay (anyone want a lightly used
D2x?). I have most of the lenses I want, and need, and the few I lust for seem
awfully expensive too me in these times of a weak dollar. I looked around the
web scouting for a decently priced used or refurbished D3x, but unfortunately
for me, they seem to be holding their value quite nicely.

So I waited. Because I felt as though that nothing I wanted
that I justify on price.

That’s when my lovely wife Cathy saved the day. She came to
me one evening and mentioned that our 16-year old son, Gus was showing an
interest in video and still photography and wanted to know what camera we might buy him.

Aha, I thought, the answer to my dilemma! I quickly and
generously offered to give Gus my Lumix LX3, which I explained to my wife, is a wonderful camera for a budding photographer/videographer

In truth, I had been eying up the new Olympus ZX1. I have
had a variety of Olympus cameras over the
years, and have had very positive experiences. I went on the B+H site and
ordered one with an extra battery. It was delivered in the usual B+H fashion,
the next day. I was particularly excited about the “Zuiko” branded lens, the
first on any of their compact cameras.

I kept it for two days. Now as readers know I shoot a
variety of equipment and am pretty adaptable, but compared to the  LX3, the controls of the ZX1 were poorly worked out, and much more “menu driven”. Maybe I never understood the camera, but things like changing the ISO, or bringing up the histogram on the display, seemed infinitely harder on the Olympus.

I packed the camera back up, and obtained a return authorization from B+H, at the same time ordering the upgrade to the LX3 the Panasonic Lumix LX5.

Compared to shooting the Olympus,
working with the LX5 is like falling off a log.

All of the familiar controls are there on the body of the
camera. One thing I really missed one the ZX1 was the switch for the aspect
ratio of the image, which on the Lumix cameras resides on the lens barrel. The
little stubby joystick controller on the LX3 was replaced by a clickable
control wheel on the LX5 making the controls more like the G- series
Panasonics. I do miss the switch on the LX 3 that puts it into picture review
mode; I like this better than the push button on the LX5.

As most of you know, the Leica Summicron–branded lens has
been upgraded in the new camera. It retains the former lens wide end at 24mm
f2.0 but now zooms out to 35 mm equivalent 90mm at f3.3. These are optically
beautiful lenses with out the silly long zoom capabilities that compromise the
optics of other compact cameras.

Some words about accessories. I was hoping that they would
be common for both cameras but to my chagrin found out that battery of the LX5 is new, and that the LX3’s filter adapter doesn’t work on the longer-extending LX5 lens. Oh well.

Then there’s the optional electronic viewfinder. I purchased
one shortly after buying the camera. I initially loved it. To me the LX5s
compatibility with this little gem might justify upgrading to the newer camera

Though not as big and bright as the EVf built in to my GH1, it was
more than adequate and allowed me to shoot with the camera properly braced against my face like one should. It allows you to see all of the camera data,
and particularly for me, the live histogram so useful in small-sensored cameras with limited dynamic range. I loved that it would pivot upwords.

Then one morning, it would no longer focus. I called B+H but
it was beyond their 14 day return period. They suggested I call Panasonic. When
I finally got through to them they were unsure just where I should send the
viewfinder for service. Several hours later they called me and suggested an Elgin, Illinois
repair center. I boxed it up, and sent it off.

Maybe a week later, it arrived back at my door. I unboxed it
and placed on the camera… only to discover that it still wouldn’t focus.

That’s when I found the note in the box stating that the Elgin facility couldn’t help me and that I needed to send
the viewfinder to a facility in Washington State.

Now in the past, I have had pretty good luck with Panasonic service (they fixed pretty quickly, my dysfunctional 45-200mm Lumix lens) but clearly they have a problem here.
Anyway, I’ll send it off again and we’ll see what happens.

On to image quality- In general I do think the LX5 a bit
better than the LX3, particularly at High ISOs. I think it’s even better still,
even in Raw, now that I have downloaded and installed firmware 2.0. Noise and dynamic range are claimed to be improved by Panasonic (maybe the latter because of the former). To me the image quality it’s a modest improvement at best, I
probably wouldn’t upgrade for the imaging improvement alone if I hadn’t given away my LX3.

Oh and by the way, the LX5 has 720p HD video but can now
shoot in the “AVCHD Lite” format as well as Motion Jpg. Firmware 2.0 has brought enhancements to this, particularly in terms of the functionality of the Optical Image Stabilization system with video.

It should be said, that there is no free lunch regarding
small sensors, even if they are as good as the LX5. I just shot a campaign event for a friend using my D700, D7000, and when I tired of carrying around the big stuff, the LX5. I shot raw and for the most part exposed carefully.

Yet on reviewing the images, there is a huge chasm, between the quality of the Nikon
files, and those of the LX5. Viewed at 100% even at ISO 100 there is luminance
noise present. This is typically less visible in prints but still on the
computer the difference is stark.

Nonetheless the Panasonic images will be very useful for my
friend’s campaign website and for modest prints.

I guess I’m just spoiled.

Because of these limitations, the LX5 and its competitors
are not great landscape tools. They are useful for event photography,
particularly if you want to keep a low profile. I will often come to an event with
my LX 5 in one suit coat pocket, and an Olympus FL-36 flash in the other. The
two are completely compatible and allow one to create some very pleasing bounce
flash photography.

Final thoughts: the LX5 is a fine upgrade of the LX 3 and is
a very useful enthusiast’s compact camera. Its image quality is somewhat
limited like all cameras of its type but nonetheless it can create nice images
in settings that other small cameras would flounder. The design and control
features make it a joy to use and quick to learn.

If you task it appropriately, and shoot it well, you will be
very pleased with the results.

It’s been a lean summer photographically. As fall
approaches, my folder of good summer images is painfully thin.

I suspect my lack of production this season has multiple
factors. One would be the professional distractions mentioned in the article
below. Having a lot on one’s mind, with the stress that goes along with it, can
definitely dampen the creative drive.

I also think that I’ve developed a bit of photographic
fatigue. Though I have traveled a bit this summer, for the most part I  have work, and thus have to and stay close to home, driving though the same places I have been through before.

Often, I will see an interesting scene and then realized that I already have an image of it in my archives somewhere.

Sometimes it is worthwhile reshooting the scene if light is
better, or to acquire it with a higher quality imager, but that can seem tedious
relative to finding a novel subject for capture.

As I get older, I have become more discriminating. For
better or for worse, I am more selective on when I trip the shutter. I think I
have a better sense of “what works” in terms of good landscapes. I pass on
scenes I might have shot in the past.

Another issue is the loss of scenery caused by development.
On of my favorite local areas to shoot is the Butler Township-Conygyham Valley region of Pennsylvania, outside of city of Hazleton. I have a branch
office in the area; on a Monday afternoon after office hours, I like to drive
around, looking for scenic spots.

Problem is, that over the past 10 years, so many if the farms have succumbed to development, that the former scenic vistas are now cluttered with new houses. I have many images that would be nice to reshoot, but it is now impossible because the “view shed” has been corrupted.

Finally I think that believe that a portion of my decreased output
can be blamed on White Nose Disease.

Yes – I’m talking about the fungal infection responsible for
a huge decline in the Northeastern U.S. bat population.

At Nescopeck State Park, for instance where I often
hike, there is a large “bat house” erected in the park above an informational
display about the little winged creatures. In summers past, standing
underneath, one could hear the scratching and the cries of parent bats and
their pups, and note the telltale splashes of guano on the ground below. Not now, as the house is silent, the grass, unstained.

Now, I do a lot of shooting while hiking. The loss of the bats, combined with a wet spring and summer means that the flying insect population has seriously increased. I rarely had a problem with Mosquitoes before. Now when I stop walking to photograph something, I am swarmed upon by hundred of the pesky critters.

Forget carrying a tripod, you’d be bled dry before you could set it up. The best I could manage during this season have been a few “grab shots” before being assaulted and forced to start moving again.

I miss bats. I rarely see one anymore. Interestingly we had
one in the house several weeks ago which we gently caught and released into the night. Hopefully he or she is resistant to the fungus, hungry… and prolific.

Hopefully the onset of autumn will rekindle my enthusiasm a
bit.

Maybe I need to challenge myself, for instance limiting my
photography perhaps to a single focal length, subject, or theme.

Or, I need to buy some better insect repellent.

I’ve been distracted this summer, and this blog has
suffered.

My professional situation is evolving, happily for the
better, but I have been somewhat distracted by the negotiations required to
relocate my office, and establish new affiliations with not just one, but two
health care organizations.

All of this will lead to  new office space at John Heinz Institute of
Rehabilitation Medicine in Wilkes Barre and my involvement with sleep labs in our local Veteran’s Hospital, and one run by the Hazleton Health Alliance, in that city to our south.

I still have to physically move the office and still have a
lot of work going forward but I should be able to be more attentive to this
little project of mine.

I hope you’ll make it a point to check in from time to
time.

This year in the Appalachian highlands of Pennsylvania, spring
has been a long time coming.

In typical years, we get a taste of better weather starting in late
March. This year, the best the month offered was an occasional clear day, with temperatures  perhaps in the 50’s (Fahrenheit), before the snow would fall once again.

I have written earlier that I have visited a spring pond in Nescopeck State Park, on one of these tepid afternoons where the peepers had tentatively begun to sing. This seemed hopeful.

It snowed the next day.

Common wisdom was “Well, March is always lousy…wait until April. April is when things get nice”.

Well April came, and so did the rain. It seemed to rain
constantly, and without the usual consolation of warmer temperatures. Streams
and then rivers flooded; the more volatile creeks flooded in multiple cycles, as storm
after storm drifted east from the much more turbulent weather in the south and Midwest.

I know…May flowers and all of that.

Finally we at least, in mid to late April the grass started
to “green-up”. Wisps of foliage  began to appear in the forest.  The forsythia finally began to bloom very late in the month.

The season however will not be denied. Nature can be delayed, but ultimately there is a cycle which will win out over the reluctant climate. By late April maple leaves began
to erupt from their winter buds.

The first male hummingbirds returned to my wife’s feeders, eating voraciously to
cope with the lingering cool conditions.

Finally now, in these middle days of May, there are consistent
high temps in the 60’s and low 70’s.

The pent-up vernal energy seems to have exploded. Over several
days the transition to spring has been accelerated. Dogwoods, fruit trees and Azaleas are in bloom.

Even the reluctant Oaks, the dominant species in the mountain forests, have begun to leaf out. Today we will finally cut our lawn for the first time.

The birthing of spring is always more difficult in the northeast Appalachians.

This year, it was breech.

Last Sunday, I found myself on a drive in the farmland between White Haven, and the town of Weatherly, near my home in Pennsylvania. This is a rural area, and I was hoping to find scenes featuring the rapidly melting snow, hopefully contrasting with subtle signs of spring.

Once I reached Weatherly, I drove to the area near Black creek, where there exists an old railroad yard with a roundhouse and foundry, used to build and repair steam locomotives.

From signs on the site,  could see that there was an effort underway to restore and preserve these venerable structures. From what I could see of the buildings current condition, this would be a formidable undertaking to say the least.

The largest building was open, so I thought I’d explore. I grabbed my D 7000, mounted the only “fast” lens I had with me (a 35mm f 2.0 Nikkor) and my  monopod, and entered the structure.

The building was huge, largely empty, but still there were artifacts of the past scattered about. A huge press, undoubtedly too big to move, sat near one of the huge doors.

The cantilevered roof had collapsed in the center and water from melting snow cascaded over the huge support beams and showered the center of the interior. I began to shoot, mildly concerned about the potential for falling debris.

I realized that this would be a good opportunity to test the dynamic range of the D-7000.

As an owner of a Fuji S-5 I am spoiled.  This camera has an extraordinary ability to record a wide range of brightness in a single shot. The D 7000 however, is supposed to be even better.

To take advantage of this attribute you have to shoot each camera differently.

With the S-5, one exposes to the left; or in other words, one sets the exposure so that the darkest regions are reasonably exposed , but leaves the highlights be just a bit “burned out”. Given the dual-pixel design of the Fuji sensor, you can “pull back the highlights in Photoshop, and still find detail.

With the D 7000 the exposure is set in the time-honored method of exposing to the right, setting the camera so that  the brightest part of the scene is well exposed, but the darkest areas look black.

In Photoshop, one can then use the “brightness” and “fill light” sliders (working as always, in RAW) to bring up the dark portions of the image.

The problem usually is, that when one “pushes” the dark areas, you usually end up with noise, which limits what you can do.

With the D 7000 however, you seem to be able to push hard on the dark areas without creating the luminance and color noise that plagued earlier designs. I’m not sure why the lower-noise Fx Nikons wouldn’t be even better for this, but apparently they’re not (except at higher ISOs).

On the image above, there was some snow at the threshold of the door that I couldn’t help overexposing.

Here’s one more shot, from a different vantage point.

All in all, I am rather impressed with this little DSLR.

Anybody want to buy an S-5? (They still shoot the best wedding Jpgs around.)