I’ve long been a fan of cameras made by Fujifilm.

My first digital SLR was a Fujifilm S2 Pro, which was a Nikon N 80-based film camera body, with digital elements “grafted” on.  Compared to the better integrated Canon and Nikon digital SLRs, the Fuji was seen as a “frankencamera”, requiring two different battery sets to control its analog and digital functions.  It was however during its time, quite popular due to two issues: number one, very high-resolution for an SLR at its price point, and number two, a characteristic color palette which accentuated reds and greens and was particularly flattering to skin tones.

The follow-up camera, the S3 Pro, which still resided within a Nikon body, cleaned up some of the dichotomy between the old film camera bits and the new digital workings within it.  Now one set of AA batteries ran the entire camera.  The S3 had another trick up its sleeve.  It used two different sets of pixels to achieve very high dynamic range, designed particularly for wedding photographers who have to capture both the white gown of the bride, and the black tuxedos of the groom.  Like the S2 before it, the camera was quirky and slow but was capable of producing images like no other.  With Fujifilm cameras, it seems,  you learn to work around the problems for the sake of the quality of the  files you can produce.

 I think that people and photographers that gravitate to Fujifilm pro-level cameras (Fuji  point-and-shoot cameras are more normal in behavior) have a certain personality type.  They will put up with indignities that no user of other mainstream camera gear would tolerate.  They do it because they perceive something about the image files that they cannot obtain with other, more user-friendly gear.

With the demise of the Fujifilm DSLR bodies (the S 5 Pro was the last) I find myself shooting Nikon bodies which were, after all, the basis for  the Fuji camera bodies. They inevitably have very competent, color accurate imagers. I love their ergonomics.  I still have an S5 ,which lives in the body of a Nikon D 200, and shoot it occasionally, particularly for portraits. Unfortunately, the lack of resolution of this older camera is becoming more obvious as the years pass.

Now Fujifilm has history of building fine camera bodies (remember the Hasselblad X Pan?). So I watched with great interest as Fujifilm relaunched a new line of cameras,  built entirely on their own, and designed for the enthusiast/professional market.

This time the camera form was a range-finder-type camera body.  I ignored the first version, the X100 as I thought its fixed focal length 35 MM lens would be too limiting.  I started to pay attention when the X pro 1 was introduced, with a 16 MP imager and a new line of Fuji built lenses.

The camera was relatively expensive, but far cheaper than the Leica M9 that it was designed in some ways to emulate.  Finally it seemed I would complete my search for a small discrete compact camera with superlative image quality.

Then, in an article on the web, I saw a photo demonstrating the relative size of the X Pro 1 compared to other cameras, including its “little brother” the X100.  It seemed to me, that I might just as well carry one of my DSLRs as the new Fuji given the relative sizes.  I noticed in the same picture however, that the X 100 was quite diminutive. Given the reports of its stellar image quality, I thought it might be interesting to give one a try.  I ordered one (along with an extra battery, the filter adapter, and lens hood) on the B+ H website, and in two days the package arrived in my office.

The packaging it arrives in sets a tone.  Within the brown B +H box, surrounded by inflatable bladders, was a smaller Fujibox box, all in black.  Within this are two other packages: one a very elegant presentation box which cradles the X100 on a black silk liner.  This suggests a highly premium product, an impression I’m sure Fuji is trying for with this “X” product line.

The second box contains all the incidentals, such as the lens cap, the chargers, and the instruction disks and included software.  The whole effect as much classier than finding the camera body wrapped in plastic and surrounded by Styrofoam in a plain cardboard box.

Handling the camera was a tactile pleasure.  Even though I use professional level equipment, I was unprepared for the nice finish and unusual heft of the X100.  The beautifully milled manual controls dials, and the classic design, all create an emotional first response from, ehem… “experienced” photographers.  Given the comments and reviews I read about this camera, I had every hope that the quality of the presentation would be more than skin deep.

My camera came with an earlier version of the firmware than he is now current and I got a glimpse into some of the issues that frustrated early reviewers.  For instance, though I’m no stranger to camera controls, but for the life of me, I could not  find the auto ISO control which turned out to be in a separate part of the menu structure from the manual ISO control. (a problem fixed on the latest update)

I did shoot with a camera for a short time with the earlier firmware, but not enough to form any firm conclusions.  I do believe the autofocus was less reliable before I upgraded the firmware.

Armed now with the version 1.2 firmware, I began to use the camera.  Following the advice of several reviewers whose primary use for the camera was street photography (my intended use also) I set the camera to use the optical viewfinder (the viewfinder can also display an electronic, through the lens image), the focus point in the center of the frame, the lens on f2.2 and the and the ISO control to automatic allow me to drift between ISO 200, and ISO 3200 with a minimal shutter speed of 1/40 of a second.

I sought out several places where I knew the indoor light would be challenging, either because of high lights and shadows, or mixed color temperatures.

The X100 is an absolute delight when shooting indoors in natural light indoors.  Even though it sports a smaller APS – C sensor, it has the among the best low light characteristics of any camera I own, challenging even my D700.  Most often indoors, it defaults to ISO 3200. Still, even at F2.0 it  delivers sharp detailed photographs with a very fine grain structure (mainly luminance noise with very little color noise) which can either be left in color, or converted to very nice-looking black and white images.  It is the first camera I feel comfortable shooting, set on auto ISO.

I did notice when I move to bright light situations, the auto ISO does not always adapt down to lower values.  This may have been some quirk because of how I set the camera up, but I’m watching this nonetheless. Luckily, the camera’s high ISO performance is good enough, that if this happens, you don’t necessarily ruin the shot.

 So far, manual focusing seems somewhat difficult, due to the lack of a reliable focus indicator.  The autofocus seems to work fine and reasonably reliably.  If the little square in the viewfinder turns green and beeps, then generally the camera is correctly focused and the image will be sharp.  Moving the focus point around the viewfinder is clumsy compared to the G-series Panasonics, for instance, where while looking through the viewfinder, you can easily activate and move the focus point only using your right hand.

On the X100, the activation button is on the left, and really requires you to take the camera away from your face to move focus. It’s a small issue for me but represents poor interface design. For this camera and it’s  capabilities however, you adapt.

The parallax correction function on the optical viewfinder is interesting, but sometimes it’s easier on close-up images to quickly switch to the electronic viewfinder,which is quite good, and avoids having the right lower corner of the image blocked by the lens (particularly if the lens hood is in place).

I was curious about the resolution of the camera compared to others with a 12 megapixel sensor.  The most comparable camera that I own is my Panasonic Lumix GH1 for which I have the 20 MM f1.7 lens, a somewhat similer equivalent focal length as the fixed Fuji lens on the smaller 4/3 sensor.

I know the GH1 to have high-resolution and an excellent metering capability though it is not the best choice for low light photography.  Panasonic imagers also tend to have a green sensor cast which I usually correct during raw processing.  I used my usual backyard scene and shot both cameras at their lowest ISO (200 for the Fuji, 100 for the Panasonic) the lenses were set at f5.6.  This yielded slightly different shutter speeds for both cameras.  In fact the first Fuji shots were rather under-exposed but then I noticed that I was using “average” metering.  I switched theFuji to “multi” metering and the exposure became much more in line with what the Panasonic was doing.

Here are the comparison shots.  I would say that on the main the resolution is roughly equal.  I will say that the Fuji file is cleaner, even  at the higher base ISO (check out the window glass).  It is interesting that when I “pushed” the under-exposed Fuji file to equal the exposure of the appropriately exposed Panasonic file, the noise levels were quite similar. The Fujifilm image tends to be smoother and more “film-like” than the slightly harsher Lumix image. 

When I think of using the two cameras, I think of the GH1 as a better camera to take for instance, on a backpacking trip, where its small interchangable lenses would give it maximal versatility.  It also has a much better user interface and better video capability, should that be necessary.

But there is just something about the Fuji.  It is somewhat intangible, but the appearance of the files, the low noise levels, the excellent dynamic range, the feel of the camera in your hand, and yes even the quirkiness of the controls, give it an undeniable charm especially to a photographer of a certain age (like me).  I love the quiet shutter, and how stealthy it is in a street shooting situation.  And like all of the Fujiis I have owned, there’s something wonderful about the images that produces.

So I guess I’m keeping this camera.  The two week deadline for its return has passed and I’m still snapping happily away.  It makes me think that the X Pro1 might be an interesting companion purchase at some point.  For now however,  the X100 makes me very content.

For the second part of this review, Click here.

My thoughts on the D 800 have generated lively discussions on the Forums at Dpreview and FM.

Now before I start sounding like certain other self-important people on the blogoshere, I want to say that: #1 a lot of the discussion centered on what an idiot I must be to not see the grand plan, and #2 my ignorance regarding  lens choice for this camera. One person was kind of “stalking” me on the points I made in the article, posting multiple reformatted versions of his critiques. It was a little creepy.

All this aside, I learned a lot hearing from people on the Nikon FM forum and the Dpreview  forum dedicated to pro Nikon DSLRs, which is why I post there. A lot of professional, knowledgeble photographers contribute, which can make it challenging to “wade in” with an opinion.

We’ve long been told that the reason that the larger-sensored high res bodies can cost so much is that the cost to manufacture the sensors is high, and the yield is low. This was said to justify the US$3000 difference between the D3 and D3x. Now we have a 36MP FX chip  in a US$3000 weather-sealed body. What happened?

I can only presume that either:

A. they lied about the extra cost of the D3x chip, or B. more likely, something’s happened to make the cost of manufacturing the imagers go way, way down.

Maybe it has something to do with how they’ve refubished their manufacturing  status post earthquake/tsunami.

Perhaps we’re getting to a point where sensor cost will be less important, and that the camera bodies features will be the cost driver. Sort of like in the film era, when a new F5, the most premium Nikon film body made, cost  US$2000 (but the derivitive 6mp Kodak DCS 660 cost US$30,000)

I think we got a flavor for this first with Canon and their  5D series, and then later when Nikon placed their brand new 16mp sensor not in a D300s replacement, but (according to some) “wasted it” in a prosumer body (albeit a very good prosumer body).

If this is true, then in the future Nikon higher-end bodies, you could put any sensor in any body style. Want a smaller, lighter camera, and only need 150,000 shuttter clicks then there’s a Dx00 with your choice of FX sensors available. Ditto if you need a more rugged, longer lifespan instrument.

Maybe, given the price of the D800, there can be a D4x with 36mp, the body and shutter of a D4 and with 8 fps shooting speed…for US$6500.

We’re entering a new era of digital photography. I think I’m going to like it.

I’m still gonna need better lenses.

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.

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.

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.)

Nescopeck Creek in March ( Olympus E 510, Zuiko 14-42mm f 3.5)

 

It is exactly one calendar year since I decided to sign on to WordPress and start writing a blog.

In a year, we have gone from having no audience, to a burgeoning group of  visitors who seem to stop in regularly to see what’s new.

In a  year, we have had almost 18,000 visitors to this site. Trust me, compared to well established sites, these numbers aren’t really impressive, but they are a beginning. And we’ve been growing every month.

 We’ve had 60 posts, or roughly 5 a month.

 Of late, professional responsibilities have prevented me from more frequent postings; but in the next several months I hope that things will calm down a bit, and I will have more time to devote to writing, which I truly enjoy.

I’ve noticed a couple of patterns in terms of site traffic..

The most frequently visited posts are those related to photography, particularly, equipment reviews. Needless to say, those will continue to be featured. The big problem for me is that at this stage I have no one loaning me equipment… I review what I have purchased.

Near as I can tell, the most popular post of the year was my article on the Nikon D 7000 which continues to attract visitors.

I plan to spend time in the next several weeks searching the WordPress site for a new blog format which will improve the usability and appearance of Henry Smith’s Cottage. Bear with me.

And please keep commenting on what is published… I have truly enjoyed interacting with those of you who kindly share your thoughts.

I really enjoy the challenge of holding the attention of those of you who have visited my internet home.

I hope you will keep stopping by.

Several days ago, I received an envelope in the mail from Epson

It contained a  check from Epson for the amount of US $450, which is the precise amount of the rebate on the  Stylus Photo R 1900 that I purchased in December, thus reaffirming my faith in the integrity of multinational corporations.

I remember the comments of some of the posters on the original article that I wrote, suggesting that I would not ever receive the money. Well the check is here, and unless it bounces, I  have managed to obtain a new, and relatively high-end photo printer for about US$60.

Life is good.

Don’t worry, they’ll get me on the ink.

 

Small Spruce on Black Pond (Olympus E 510, Zuiko 11-22mm f2.8)

 

 Cross Country Skiing???…that’s too much work.

I am fortunate to reside in a portion of the eastern Pennsylvania Mountains (hills, really) where snow is fairly reliable from January through March. I also have a residence in the High Peaks region of the Adirondack Park in northern New York, where one can generally add a month on each end of the Pennsylvania snow season.

Since childhood, I have enjoyed snow sports of all kinds, but for the last thirty years, skiing, has been a dominant winter activity. It’s pleasant, that in both of the locales where I reside, that most of, my friends are also skiers.

I have been an avid downhill and Telemark skier in the past, but a bum left knee has left me somewhat hobbled in this regard. While allowing a few years to pass prior to undergoing knee replacement, I continue to at least be able to cross-country ski, which in some ways I enjoy more than its more glamorous sister sports.

Cross Country Skiing has several advantages. First, it’s cheap, both in terms of equipment and venue costs. To get fully outfitted for downhill skiing (skis, boots, bindings, and poles) could cost US$600-1000. I can find a nice touring cross-country set up ( the kind of skis you’d use on your local golf course or hiking trail) for between US $250-350.

Then there’s the clothing. Alpine skiers tend to use different clothing (warmer, less emphasis on breathability, more emphasis on style) whereas, if you’re already hiking in all seasons, cross-country garb tends to be an extension of your typical outdoor layering clothing strategy.

Some of my crusty old friends still insist on skiing in wool sweaters, and knickers with knee socks like we used to do thirty years ago.  Oddly enough, wool works pretty well, except that everything tends to stick to it. You look like a snowman if you fall.

Then there is the venue. In the Adirondacks, a day of skiing at two Olympic skiing sites varies rather widely. At the time this was written (2011) a downhill ski lift pass at Whiteface Mountain is around US $80. By comparison, to ski at the Van  Hoevenburg, Cross Country Ski Center (as well-groomed and full featured as anywhere in the country), costs a relatively modest US$20. Its trail system connects to the equally lovely Cascade Ski Center where a ticket is an even more reasonable US$12. In truth, resorts such as these are a luxury.  Most of the time, I end up “backcountry” skiing on public land where typically there is no fee.

 

When I bring up the topic of cross-country skiing to someone who has never tried it, the invariable comment is something like: “that’s a lot of work”. Actually once you learn the technique, moving at a brisk pace over level or even rolling ground is fairly easy. Like all forms of athletic activity though, if pursued with vigor, it’s a formidable workout.

Photography from skis can be very fruitful. Whether on alpine gear at a downhill resort, or on a tour on Nordic skis, the surrounding scenery tends to be rather striking.

Doing photography however, while pursuing any athletic activity has its problems.  Active muscle tone and a bounding heartbeat can make obtaining sharp images a challenge. Camera stabilization is very important. Something as simple pausing for five minutes after exertion to allow your heart rate and “contractility” to subside a bit can help to avoid camera shake. Ski poles, tripods and, in fact any fixed object you encounter can be helpful.

It can be intimidating to carry hundreds, if not thousands of dollars worth of camera gear in a pack if you are not a confident skier. Hone your ski skills before packing up your most valuable gear before a challenging run. Until your pretty sure you’re not going to fall onto and crush your brand new point and shoot ( or fall on your D3 , and injure yourself), pack along more expendable equipment. If you’re not yet ready to ski with your camera equipment, snowshoes can be another, somewhat easier way to venture into the winter wilds.

I really like the Panasonic G-series cameras for skiing because they are light, moderately priced but can still capture high quality images. They are also fairly sturdy, but I still think that they would deform in an accident, sparing my spleen.

I tend to carry camera gear in a large “fanny pack” with a shoulder strap over my left shoulder, and the hip belt tight enough to inhibit bag migration. When I want to shoot, I loosen the belt, and swing the band over my right hip, towards the front, where all of the contents are convenient to access. The Mountainsmith pack that I use fits a G series camera with several lenses, extra batteries and memory, a water bottle, plus room to carry a shed layer, all without disturbing my sense of balance.

Longer, more ambitious winter trips require gear that will only fit in a larger backpack. In this case, a smaller fanny pack can be carried up front, for quick access to your camera gear.

Skiing into remote areas allows one to observe and photograph even familiar territory in a whole new light, and get some wonderful winter exercise.

 And it’s really not that much work.