Celebration Post. Landmark. Milestone. Crazy accomplishment. A "Thank You" to the readers who have stuck around over the years. And more.

At Eve's Organic Bed and Breakfast in Marathon, Texas. 2010

I'm glad I took a peek at the statistics for the blog site today. Serendipity. This post is the 2,000th post I've made to the site since I began writing it in the middle of 2009. I've been writing about photography and you've been adding your comments at the rate of about one post per day. When I add it all up that means we've spent a lot of time together on the 'ole' world wide web.

Other metrics include just a little shy of 30,000 comments and nearly 18,000,000 page views. 

As I glance through the history of the blog I see a few common themes emerging. Probably the most consistent is the idea that the only practical way to get better at taking photographs is to spend more time taking photographs. And, oddly, since the blog seems to be a big time sink, the blog has helped me make more photographs because to my mind the blog is always voracious for visual content.

The second place idea that I write about over and over again is that the type or brand or size of camera you use is hardly ever as important as your vision and your intention and those are developed by spending more hands on time actually taking photographs. 

The third idea I've shared is what I think moves work forward and that is experimentation. New subject matter, new points of view, new styles and even new gear.

I've written many time about new equipment, and of old equipment that I still like and use, but nothing seems to resonate with both my viewers and visitors from the greater space outside the blog than the times that I write about or review the Olympus micro four thirds cameras. There is a passion connected with those cameras that seems to transcend all other brands and types. At least as it is represented on my site. The review of the lowly (but very capable) EPL-2 is still the most popular equipment review article I've penned for the blog. I'd be interested to know what makes us all so passionate about this particular line of camera other than the fact that it represents a sea change from the status quo. 

I've written a number of times about shooting etiquette both in the streets and at corporate functions and the article I wrote about asking permission still sits on the "top five" list of all articles. A short version: Don't be a dick. Don't make people uncomfortable. Fit in. Blend in. And get the subject's real, tacit or implied approval to make their photograph. 

It probably seems that I've got the attention span of a fruit fly when it comes to acquiring and changing camera systems but that ties into my belief that you acclimate to the constant change in culture and even around your own sphere of existence by embracing change and discovering what it has to offer. It may be that the popularity of the new, mirror free cameras is directly connected to the fact that they push one to make images in a different way, and that each camera pushes you to overcome it's liabilities or limitations by putting you in touch with your own creativity. That creativity depends to some extent on a catalyst to bring it into action....

We've shared a lot together. I've brought you along on my honest journey through the depths of the recession which was an extreme trial for self employed creative people. And I've welcomed you along on the the story of our ongoing recovery and reinvention as a result of that economic downturn.  And many of you have buoyed up my spirits with off line notes of encouragement and support that went a long way to keeping me calm and focused on maintaining my vision and intentions for photography through that tough time.

You read patiently through the noisy launch of five different photography "how to" books that Amherst Media published for me and you are currently and patiently waiting (I think) for me to get over my joyous enthusiasm over having completed my first novel.

The image at the top is a signifier for me personally. I took it in 2010. Work was sparse and the income from books was most welcome. At that juncture a very large publisher wanted to have me write and to have them publish a dream book for any photographer. It would be a book about going on a road trip and making art. The problem was that the contract was quite a bit one sided. I'm sure the publisher felt like the book was such an opportunity for a freelancer that no one in their right mind would turn down okay money+the chance to do this book but their negotiating hubris stuck in my craw and, after weeks of very one sided negotiations I finally told them to take a hike. I stuck to my guns. I did not do the book. 

But I did take the road trip. I looked at my business checking account and took out $400 for ten days on the road. That left precious little operating capital in the account at the time. Scary little. I cared but I didn't care. I figured that I'd figure it out. I took the cash and my Honda Element and several Olympus EP2 cameras and I hit the road for West Texas. Just to see what it would look like photographed. 

Most of the time I camped out under the stars or, when the temperature dropped, in the back of my jaunty Honda Element. I shot whatever the heck I wanted on whatever schedule I wanted and when I finally got bored I packed it in and headed home. But the image above is one that I've always enjoyed looking at from that shoot. The richness of the color. The ability to see and make square images in the camera. The discovery of something different and new. And finally, just the rich color contrasts that still please my eyes. Done with a m4:3, twelve megapixel sensor camera with a "tiny?" sensor.  For my own enjoyment. And that's the basic and enduring message of the Visual Science Blog. It's this: Forget about what people did in the "good old days." Forget the rules as learned by unchanging techno-weenies. Forget the subject matter that gets the most "likes." 

Shoot for the fun of it. Shoot for your own self-discovery. Shoot for the glory of having seen something unique and having savored it well. Sharing images is over sold. Make the images as extensions of your own fragile memory. Let them be your personal touchstones and prods to memory of stuff well seen. Fifty years from now pull a photo up on your screen and remember what if felt like to be fifty years younger---maybe in love---maybe lonely and on your own---maybe surrounded by family. Let the images you take be your enduring guides to your own vision and your own past and leave it at that.

The one favor I ask all my friends is this: Please resist the temptation to show me your work on the screen of a phone. I'm 58, the screen is too small. Either share that image large or enjoy it on your own. I'm not looking for more excuses to pull the reading glasses out of my cardigan sweater, I'm too busy yelling at those damn kids to get off my lawn!

Finally, I have two things to ask of you. Especially if you enjoy reading the blog. (Maybe only if you enjoy reading the blog...) : First, it's always nice to see the numbers grow in the followers box on the home page. Sign up if you can.  If you can't do it that's okay---you are still most welcome here. And, secondly, I'd really appreciate you taking a chance and spending the $9.99 to buy the novel I took a long time to write. Some of you already have and I appreciate that you were  early adapters and also took a leap of faith to click on the "buy this book" tab at Amazon.com.  I'm so appreciative of the great reviews the book is getting. I'm grateful for the feedback from early readers----please note that we jumped right back in and made numerous corrections you suggested which made the book even better. But so far only a small (tiny) handful of VSL's thousands of daily readers have taken the plunge with the book. 

I'd love to have your support for the book. Buy it. Read it. If you hate it, return it for a refund (if you must). But give it a shot. You may find that you like my fiction much more than you like my daily posts.

Thanks for reading through the 2,000 blog posts I've put up over the years. I don't plan to stop any time soon. We're in a new photo industry transition and I get the feeling there's still a lot to write about. It's going to get even more interesting. Keep your lens clean, don't keep cleaning your lens.  Get out there and shoot. 

I hate change. It always makes things different.

(Above) This is the pool I swim in most mornings. We get here at 7 am in the Summer and we do a good 3200-3400 yards in an hour, with our coaches yelling at us from the deck, and then get on with our days. In the winter the workouts get longer. Then it's 7 to 8:15. We get some more yards in. There's another workout from 8:30 to 9:30 and if you didn't get enough yardage in the first one you are welcome to stay for the second one as well....as long as you do the workout the coach puts up on the white board. In the winter there is a third workout every week day; it's at noon. 

I've been swimming masters workouts daily at the pool for about 18 years. That adds up to 16 million+ yards.  But the pool is more than that. It's where tiny Benjamin learned how to swim from five or size different Olympians. It's the place where I spent countless Saturday mornings as the "official" volunteer photographer for the Rollingwood Waves (Ben's swim team) during their Summer swim meets. It's the place where we've had countless barbecues with dozens of other families. It's the place at which I served as vice president of the board of directors for about ten years (seemed like thirty...). And on Monday it's going to change. Big time. 

The bath house we've had on the property for 22 years is being demolished. Torn down. Destroyed. Hauled away. The new board decided to build a beautiful, new bath house with air conditioning in the locker rooms for the wimpier members. On the plus side it will be fully ADA compliant. On the minus side it is too beautiful and too sybaritic. But the real minus is just that I hate change, resist change, don't do well with change---unless it involves changing camera systems. 

(Above) Is the very utilitarian interior of the men's locker room. We call it a locker room but we don't even have lockers---just hooks from which to hang your clothes and stuff. We generally get here most  of the year in the morning twilight and change into our swim suits and head to the pool. No special amenities necessary. The locker does have a heater. But on Monday all that goes away and we get a "country club" style locker room. I haven't taken the tour yet. It may even have lockers. But I don't care because I don't like change.

The image just above is the exterior of the current bath house. The covered area out front is where we all stand around when we clear out of the pool for lightning and thunder. We stand under the cover and try to convince the coaches that the sound they heard was just a garbage truck somewhere wrangling a dumpster and that they should let us right back into the pool--- but they never buy it. 

As I was changing back into my civilian clothes after this morning's workout I realized that I didn't have any images of the old bath house. Not even an iPhone snap. So I grabbed a camera I've been testing out and headed back the pool around 3 this afternoon. I snapped my perspectives of the bath house.  At least I'll have the images to play with....

We don't get to use the pool all next week. The demolition will be loud and dangerous and at some point they have to lay in a new gas line to the new bath house across where the existing structure is and only then will we be able to get a certificate of occupancy. I'll be swimming at one of the other clubs. Probably Barton Creek Country Club. But I won't be happy because that will be change too. It's not as bad because it's just a temporary change but still....

Today I was testing out a traditional APS-C camera just to see how different it is from what I remember. It's a Nikon D7100 outfitted with a fun but funky 18-140mm lens. The VR works really well and the files are saturated with detail. But it's different from what I shoot right now and, as you might be learning, I hate change. 

What are writer/photographer/swimmers eating for breakfast these days?

In the middle of the Summer it's too hot to eat oatmeal or eggs. I think it's perfect time to have a breakfast of Cheerios (or Joe's O's from Trader Joes) along with half a pound of fresh, organic blueberries and a half a cup of walnuts. I use skim milk but if you are a vegan purist there's always almond milk. Right now is high season for blueberries. Head to Costco or Whole Foods and get a huge stash of the organic ones and knock yourself out. Or not. More blueberries for the rest of us.

Side light or back light your food shots. They look better than way.

Cellphone Documentation Rules.

At the Graffiti Wall with the public. One mom is using her cellphone to document the outing with her daughters. A hot day, but not to much for a smartphone to handle....

If you think, as I do, that all cameras are really good these days then now is the time for bargain shopping.

Or, how to make your hobby (or business) less of a financial drain...

Olympus OMD EM-5 with 17mm 1.8 lens, and hand grip.

Can we talk? You and I love to buy cameras and lots of other photographic stuff. I actually write about new gear on my blog all the time so you'd think I'd be racing to the poor house with my incessant gear purchases, right? Well, maybe not so much. You see, I like to wait for everyone else to buy the gear first and work out the bugs, then use it for a while and figure out the best workflows. Then I kinda hang around until they get a whiff of the newest stuff and get the urge to upgrade. At that point I get interested in the gear and buy it used. Never for more than fifty cents on the dollar.  If I don't like it I can almost always sell it a bit further down the road for more or less what I paid. 

Now, I don't always work like this. I ran out and bought the new Panasonic GH4 when it came out because I had specific video projects that I knew I wanted to use that camera for (and make money with) and, being the first real user 4K camera on the market it's not like I had older, cheaper options to consider.

But more often than not I try to love old cameras more than the latest cameras. Especially the ones that earn universal kudos before they are put out to pasture. One of my favorites was the Sony a850. It was an almost identical copy of the a900 full frame, 24 megapixel camera but in came out about a year later, cost $1999 instead of $2799 and was the absolute cheapest way to get into a full frame and 24 megapixel cameras at the time. I probably had a sales associate pull one off the shelf twelve times so I could play with it and even though I wanted it I knew I didn't "need" it. Not at the full price. 

Early last year I found one in great shape for around $850. Now this was before the launch of the Sony A7 cameras and, for a Sony user, the full frame choice of the moment was the a99 at $2799. I bought the a99 and paid the new toll but I couldn't see paying that again for a back up camera. If you aren't a professional user you might not need a back up. I do. It's total paranoia on my part but I can't go out on a shooting assignment without one. My brain just won't let me. Too much liability...

So I finally plunked down money for the a850. It was a great camera. The used one I bought was half the price of a new, APS-C, Sony a77 at the time. It was an amazing bargain for a studio photographer. When I bailed out of the Sony stuff this year the a850, used for another year, brought me exactly the same amount of money back when I sold it. Even Steven. I basically got to use, play with and leverage a fun, full frame and very professional camera for a year----for free. 

I don't always make such good bargains but then again I generally only lose money if I need the new technology (thought I needed the a99 for video---I was wrong) or if a camera is so lasciviously captivating that I can't extinguish the flames of desire and have the money in the bank. I lost as much money when divesting of the a99 as I initially spent on the a850. That's the price of having the camera of the moment. 

If you look back two years in the VSL archives you can read my high praise of the Olympus EM-5. I think it's the camera that really made mirror less cameras legitimate in the eyes of the center of the Bell curve consumers. But I was over equipped at the time it was launched with various Sony cameras and couldn't justify paying the "opening season" premium for the camera and the requisite lenses. Since that time I've watched legions of photographers gush about the quality of the files, the colors and the incredible in body IS. I envied them but I bought practical stuff like the Panasonic GH3's that I've used for a dozen video projects and nearly a hundred still shoots. I also knew I needed the video capabilities of the GH4 before I needed the particular attributes of the EM-5 for my style of business shooting but I never lost my admiration for the product and the engineering. 

A friend recently upgraded to a brace of EM-1 cameras, and a GH4 to keep his GH3 company. Feeling a bit overstocked he was ready, after two years of  EM-5 ownership, to lighten his inventory and sold me the two cameras at an amazing price. Less than half of the new price and paired with some great accessories which further sweetened the deal for me. Wow. These are great, low mileage cameras and I'm enjoying them as though they were brand new to me. 

Essentially what I'm getting at is that we've pretty much reached the consensus that cameras have hit a point of quickly diminishing returns. The stuff that was on the market two years ago isn't just half as good as today's products it's something like 98% as good as today's products and in some cases (many cases?) you'd have to be practicing pretty damn precise and careful techniques to see the difference. So----why pay for incremental improvements you are hardly likely to perceive?

I was motivated to write this after a trip yesterday to purchase a cheap lens at Precision Camera. There I saw several fervent photographers getting ready to trade in Nikon D800's and D800e's in order to purchase the new Nikon D810. Now, I know that the new camera sports the same number of pixels and most of the same features as the cameras it is replacing but I also know from reading what smart, experienced shooters have posted about how small and incremental the actual, visible quality differences are. Most will be obscured by lenses that aren't of high enough resolution to resolve those differences.

How old is the oldest D800? Is it two years old? Has anything in the 35mm format come out that trumps the performance by a discernible amount (and I mean discernible to mentally healthy people...)? Not that I know of. So I marveled at the folks who would willingly lose about $800 to $1,000 on the trade. What is it that they are seeing that I don't get? Doesn't matter. If they can perceive the difference, and value it, that's all that matters. 

But going forward here's my suggestion for truly enjoying the gear end of the practice of photography:  Buy stuff used! There are tons of used lenses and used bodies that are wonderful to work with but have been replaced by newer models, most of which don't add much to the spec list. 

I was combing the web and looking at bargains last week. Here are some I found:

The Fuji EX1 with the 18-55mm zoom lens (the fast one), in almost new condition for $600.

The difference between the EX-1 and a new EX-2? The finder is a bit better in the 2 and the screen on the back is two tenths of an inch wider. The sensor and the imaging pipeline, as well as the lens, are identical. And both of those camera have the identical sensor and imaging pipeline you'll find in the Pro-1.

You need a faster, more traditional body with class leading performance? Smart guy, Thom Hogan tells me that there's only 22% difference in resolution between a Nikon D7000 at 16 megapixels and the newer D7100 at 24 megapixels. His take? Not enough discernible difference for most people to care about at the final file sizes 99% will use. A new D7100? About $1100. A lightly used D7000? About $500. The difference in operation? Minimal. 

If you are mostly a mirror less shooter or APS-C shooter but you've always wanted to play around with the full framers (not for the resolution but because you know that perspective and depth of field is different) you could ante up for a D610 or a 6D from Nikon and Canon respectively or you could pick up a lightly used original Canon 5D for a whopping $600. My friend Paul and I were fondling one yesterday at the camera shop and it looked as though it had just been taken out of the box for the first time. The tariff? $600.  All the depth of field magic with the nasty depreciation already sucked out of the camera. 

The 17mm Olympus 1.8 lens above retails for around $500. The one I bought is in great condition and cost me less than $350. It works just as well as the new ones. 

We could go on and on but it's not like the old days where the jump from three to six megapixels was amazing and career changing. It's not like the days when Nikon and Canon jumped from six to twelve and then to 22-24 megapixels. The changes are a lot more subtle and they are happening at a slower pace. For all intents and purposes we're at the point where skipping generations of our favorite products doesn't make us feel like we're falling behind. 

Just a few thoughts on keeping the passion affordable. Now, who's got a lightly used Leica S they'd like to sell me at half the going new price? I might want to take a look at that...

Musician's Dog on Sixth St.

 Dog in a guitar case.

I don't remember exactly when I took this shot. I know which camera I used but it really doesn't matter because the exif info tells me I shot the image at f7.1 with a modern kit lens and I doubt a better (or worse) camera or a better lens would have made any difference at all. I was at loose ends and I was walking around with a camera in my hands looking for interesting stuff to photograph. 

I smiled at the owner, dropped a buck into his case and asked him if I could photograph his dog. "Sure."

I was happy to see that the dog had a fresh cup of kibble just to the left of his (or her) head and a collapsible bowl of clean water just outside the guitar case. I also was happy to see that the owner was using a harness instead of a collar. Studio Dog says that's her preferred rig because if they make a fast break for a squirrel and come up short on the leash it doesn't put stress on their necks. 

I wish I'd made a few different photography decisions but I'm happy to have the photograph. 

The camera I used to take this is long gone but the image, and its attendant memory for me is still right here.

Reading the Austin Chronicle on a sunny afternoon.

Jaston Williams (of Greater Tuna fame) in costume for his upcoming one man play: Maid Marian in a Stolen Car.

Jaston Williams as "Maid Marian"

Camera: Samsung Galaxy NX

Zach Theatre will be presenting Jaston Williams' one person play, Maid Marian in a Stolen Car, at the end of August. I spent a couple hours with Jaston shooting promotional photographs for print collateral, the web and the transilluminated posters that front the theatre on Lamar Blvd. and I can ensure you that it will be absolutely funny. When we did the shoot that yielded this particular shot and several hundred others I was in a big experimental phase with new cameras. I'd been bringing two or three bodies, sometimes from two or three different manufacturers and shooting the all to see how they were different and how they were alike. 

We had fun shooting with the relatively bizarre Samsung Galaxy NX because we were able to compose on a five inch LCD screen on the back of the camera. The art director and I were standing side by side in low light while Jaston performed in the high light levels of the modeling lights on the flashes I was using. This allowed us to see the rear screen with no glares or reflections. Nice feedback loop between photographer/trusted art director/animated talent. 

It was also great to be able to move the focusing point around with a finger. Something I also like to do on the Panasonic GH4. The Galaxy NX camera had some operational quirks and I stopped using it much after getting the newer and more streamlined NX 30.

Recently I've been going though thousands of shots from hundreds of shoots and trying to find fun new stuff to stick into a portfolio. I came across this one and, after playing with it for a while in PS I realized that while the camera and I didn't make a happy couple from a UI perspective the sensor and lenses were very, very good. It will probably be lost to the small file size on the web but the sharpness is high, the noise low and the colors are great. Always interesting to discover attributes in a camera that you didn't appreciate the first time around.

Fun stuff. 

The Photo Fiction/Action Adventure Novel 

of Summer 2014.

The frames between the frames.

Samsung Galaxy NX camera. 60 mm macro lens. 

Photography, as we practice it at the Visual Science Lab, is hardly ever deadly serious business. For the most part I chose this career because when I was working at an ad agency back in the 1980's the people in the ad business who seemed to be having the most fun were the photographers. They'd show up with a retinue of assistants, set up magical lights and fill the room with glorious energy. Once they got the perfect frame they played around some more, until they got bored or ran out of time. 

The fun thing; the wonderful thing is that the images we all loved and wanted to use in the ads were mostly the ones that came in the moments after the serious shooting. Those were the moment where everyone involved felt free to just play. Like kids. 

I'm all for photographers getting their technical ducks in a row but in a business like this, with all the budget cutting, uncertainty and competition, there's no reason to be in it unless you are actively having fun with the actual process of taking the pictures and making your art. 

I shot this for Samsung. Gloria was a wonderful model. We have tons of frames of her looking seriously alluring but the ones were we break away from the expected seriousness and play around with no seriousness involved are the most fun. A photo with the joy of the experience showing through is the target we're aiming at. You get there by letting go. You get there by sharing the fun.

A photograph from The Gospel at Colonus. Zach Theatre. Austin, Texas 2014

A shot during dress rehearsal. There's really nothing else to say.

Camera: Sony a99. Stage lighting. 

Meeting young Richard Linklater.

Richard Linklater, Director. 

© 1992 Kirk Tuck, All Rights Reserved.

I got a call from an art director at Elle Magazine. "Would you take some portraits of a young, Austin director for us?" he asked. This was way back in 1992. I told them that I'd be delighted and asked for a little direction. They gave me very little direction.  The art director said, "Just something casual." and then they gave me his telephone number. 

Richard had already done the movie, Slacker, and was in pre-production for a new movie called, Dazed and Confused, but he still answered his own phone and we made a date to meet at the apartment he was renting just off campus and to walk around shooting some photos. I talked an aspiring young actress named, Renee, into coming along with me to help carry a flash. There were no publicists involved, no fashion editor from the magazine, no entourages.

Richard's apartment was one of five or six that had been carved out of an old house just on the corner of 24th street and San Antonio St., a block over from the venerable and famous Les Amis Café and only two blocks from the University of Texas. When we got there he was sitting out in front on the steps waiting for us. Richard, Renee and I talked for ten minutes or so and discovered that we had all been in the English department at UT at one time or another. 

We walked down the long alley behind the main drag where we found this wall that all of us liked and we took a bunch of photos in that area. Richard even agreed to do some shots in a little brick area made for trash cans. The pictures of him laying on his side in a glamor pose are still funny.  

Everyone is very buttoned up now when it comes to things like make-up and costuming/wardrobe but on that day Richard was carrying a couple different shirts in a backpack and if we wanted to do a costume change he'd just pull off one t-shirt and pull on another one. It was Austin. He'd directed Slacker. Everyone was quite laid back. 

My favorite images from the shoot were taken with the Varsity Theater in the background. The vaguely out of focus murals in the background were of movie stills. It was cool. I've moved a couple of times since I shot those and I'm still looking for that box of medium format transparencies. I know they are here somewhere.

We ended up shooting some soft box lit portraits back in the studio but I think we all (including the magazine) knew we wanted to use the outdoor shots.

The magazine selected their favorites from six or seven rolls of 120mm transparencies. That's about 70 different 6x7 cm images in total. The image ran big enough to be decently credible with my peers and I enjoyed telling my women friends that I had a shot running in Elle. It was cool.

I shot with two different Pentax 6x7 cameras. One had a normal lens and one had a short telephoto on it. Almost certainly the lens we used was the 165 mm f2.8. What a wonderful lens...

I shot the whole collection of images handheld with ISO 100 transparency film and I can see that by today's standards the details in the images are a little soft. The main reason was that the Pentax 6x7 camera was the ultimate granddaddy for what we are now calling, "shutter shock." Back then we called it "mirror slap" but it all in the same category: unsharpness caused by camera vibrations.

Richard's newest movie, Boyhood, has opened to rave reviews from ...... everyone. And it's an amazing project done over twelve years. It's a small town here in Austin, the actress who plays the younger girl (11 or 12) is the daughter of a videographer whom I have worked with on many projects, for decades.  Another friend and one time writing partner spent part of that year as the official chaperone on the movie set of Richard's second feature.

It's fun to look back at where currently famous people started out. I will remember Richard as being one of the least pretentious and most accommodating people I've worked with. And it was nice of him to hire my assistant for a part in his next movie. It is obvious that his current celebrity was fairly and well earned.

Finally. Kirk stops horsing around with dumb format philosophizing and puts up something useful. It's about time. "How to keep your camera comfortable."

I'm tired of thinking about camera sensors and arguments about why one format is better than another. I know it doesn't really matter because no matter what anyone else says I'll still go on shooting some stuff with tiny cameras and other stuff with big cameras and I'll use all the stuff in the middle too. I decided that this morning I really just wanted to share a stupid idea that came to me yesterday afternoon. I know it's painfully obvious but I just figured it out right then. 

Let me set the stage:  It's about a hundred and one outside yesterday afternoon around 3:30. It's not the pleasant, desiccating, dry heat that the people in Phoenix get to enjoy. This is Austin humid/heat. We had some nice rain last week and when the sun amped up the humidity came along for the ride. Anyway, it's hot and a little uncomfortable outside unless you happen to be in a pool. Or on the lake. 

I was playing with a different camera and lens and I decided it would be fun to go out and walk around the lake and try to get some great Summer shots. You know, people on paddle boards, people in swan boats, people in skimpy swimwear, crazy people running in the heat, kayakers, canoe enthusiasts, etc. And I knew all of them would be out in the afternoon. 

I grabbed a camera and headed to the downtown hike and bike trail that surrounds the lake. I also grabbed a little scarf-like thing thinking I would soak it with cold water and wear it around my neck as a tool for evaporative cooling. I buy these stretchy cloth things from REI for just that reason. They also come in handy in the winter. I wear one over my mouth when I run in the cold to warm up the air before it hits my lungs.  The ones I buy are from a company called, Buff. They are essentially a big rectangle of cloth that's sewn on on side to create a tube. You can roll them up as in the image just below and wear them around your neck or your forehead or you can unroll them and adapt them in other ways. 

Buff cloth, rolled up and ready for neck ware.

Here's what the cloth looks like unrolled. 

And this gives you an idea of the construction. It's just like a ski gaiter. 

So, I start walking. Now I've got on my sunscreen and a good hat and a pair of cool sunglasses but I look down at the camera dangling off my left shoulder and I realize a couple of things about dragging a camera around in a hot climate. First of all most of the cameras I use are black and even the least knowledgeable among us know that black soaks up heat instead of reflecting it. We also know that heat messes stuff up. While it might not cause lasting damage to a camera using one with a core temperature over 104 is woking outside the expressed operating range. That might cause the lubricants to get a bit more lubricant-y than intended and the increased temperature might cause more noise in your videos or image files. 

The next thing I realize is that I'm grabbing the camera with my sweaty, drippy hands and that salt water in the form of sweat is almost certainly not good for the exterior of the camera or the little control knobs and what not. Even with total disregard for the health of the camera I had a moment of selfish satori as I realized that the camera would be harder for me to handle when wet and/or sticky. What I have over my shoulder is a precision instrument baking in the sun and exposed to caustic chemistry every time I handle it. 

Now I'm beginning to understand the rationale of those leather, ever ready cases that were somewhat popular many years ago. Of course you could always pop the camera into a camera bag or into a backpack but then you've made it many steps more difficult to access the camera when inspiration strikes you. I wanted my camera somewhat protected by easily grab-able.  Just in case inspiration does strike a glancing blow...

It must be something in the air. Here's what Zack Arias has to say about sensor size this morning..... It's a good read.

http://dedpxl.com/crop-or-crap-math-or-moment/

Zach is a photographer in Atlanta. His written work is fun, high energy and occasionally bombastic. I love it when we're on the same page.

Go read and enjoy.

Happy Monday.

(Thanks to Jean Marc Schwartz for pointing me to Zach's current blog post!).

Most of the stuff we shoot is just for fun. Sorry, no available metrics for fun.

Upside down woman at Eeyore's Birthday Party in Austin, Texas.

Starting new projects. Building on old ways of seeing.

 I photographed this image behind the scenes at an international fashion show held on the beach in South Beach Miami. It was many years ago at a time when digital and film were just intersecting. I was in Miami to shoot a sales meeting/celebration for a long since expired telecom company. During my work times I shot with a brand new Olympus e-10 digital camera. During my non-telecom time I shot with a film camera I'd brought along for comfort. Almost certainly it was one of the Leica R8's and the 90mm Summicron lens along with some Kodak 400 speed Ektapress color negative film. The R 90mm was a nice enough lens for its time. Contrary to legend it wasn't really critically sharp wide open but there were other things to keep track of back then so we didn't worry a lot about it.

I love the simplicity of the shot. If you take a close look at it there are so many diagonal lines that lead your eye around the frame. The shooting was not painstaking or involved. I flashed my press credentials and got ushered right into the show. I even got a commemorative t-shirt. I spent an afternoon photographing beautiful people getting their make-up applied and then strutting down a giant runway in an enormous series of air conditioned tents. When I finished I headed to the bar at the Delano Hotel in hopes of catching a glimpse of Madonna who was rumored to be staying there as well.