About my look, or photographic post processing style… It’s changed over the years, from a more documentarian style where I’d simply correct colors to taste and crop when needed, to my current dark aesthetic. It really developed from a combination of my camera history, my life experiences and finally letting my honest self be reflected. Let me explain each of those 3 elements and then bring it all back together.
Coming soon from Apple is the recently announced Magic Keyboard for iPad Pro. Like before, it's a combined protective case and keyboard, but this one will have 2 dampened hinges and a secondary USB-C port for passthrough charging. The headline feature though is the inclusion of a trackpad and accompanying, underlying changes to iPadOS and the UI to accommodate the use of a pointing device for navigation. Basically, the iPad is becoming more laptop-like since the diversion from a unified iOS code base to separate iPadOS and iPhoneOS. Now the hardware will begin to reflect that change.
Today, despite watching others do this for years, I've finally started using it for its intended purpose: modifying photographs to create images that don't exist in real life.
I guess you can infer by my tone that I'm not a huge fan of photo manipulation, and you'd be correct. There's a fine line between photography and art and I feel wholesale manipulation of the image to create something that cannot be captured in whole, within the camera, as dishonest. However, I draw that line at profitability. If you're profiting from a reputation as a photographer while creating digital art and misrepresenting it as a photograph, I take issue with that. If you're creating art for the sake of it and representing it as such, for profit or not, I have no problem. The gray area is of course the line between reality and art. What I did, while photorealistic, is what I would classify as art because you couldn't recreate my result in a single photograph.
Maybe you've heard of Fujifilm's mostly ignored software companion, X Raw Studio. It was released sometime after the X-T2 and advertised to leverage the power of their X-Processor Pro image processing engine, aka onboard CPU, to post process your photos on a desktop or laptop computer. It did this by connecting your X-Pro2, X-T2, X-H1, or X-T3 via USB 3 or USB-C's superspeed bus and would allow you to edit your RAW files on a computer but would leverage the high speed bus and X-Processor Pro's power to process the images. Since it's release, it's sat collecting dust with only minor bug fix updates since, while Fujifilm has established partnerships with brands like PhaseOne's CaptureOne and Skylum Luminar to natively support the X-Trans system. All of this seems to be the result of traditionally poor support from Adobe, the long-standing leader in the industry. But I have a vision.
High contrast scenes tend to work well when processed in monochrome format. I'm especially lucky since Fujifilm's film simulations are such great emulations of their popular film stocks. Their Acros simulation is especially good with high contrast, moody scenes and I've been processing more and more of my landscape shots with it.
A few of the high contrast shots I took while in Forks took especially well with the Acros film simulation.
After a day's break from the trip to Forks, Craig and I took advantage of a break in the rain to hit Roozengaarde in Skagit to photograph the tulips before the festival began. About half of the tulips were in bloom and the daffodils were still out, though they looked ready to wilt. Fortunately the weather and time of day seemed to keep most people away. This also gave me a chance to use my Leofoto tripod on different terrain. Again, things just happened to work out for us as the rain held off and the clouds helped give the photos a dramatic, almost ominous look that contrasts with the burst of colors below. Too bad the stiff breeze prevented any chance of getting a longer exposure, but that's fine. For tulips, it's all about the colors.
Day 2 at Second Beach. Unfortunately, this time we hit high tide and quickly discovered the beach was a lot less interesting when the tide is in. We managed to make do, despite shooting over 200 shots, again, trying to chase waves that weren't hitting the shore as intensely as they had the day before. At least having my tripod allowed me to get some long exposures as the clouds were moving on shore fast and thick.
Funny how things tend to happen in spurts. I spent the past week in Forks and Mount Vernon to get some camera work in. Craig and I went to Second Beach on the Quilayute reservation to photograph the seastacks just off shore. After a day of recovery, we went to Roozengaarde to get some early shots of the tulips before the Skagit Valley Tulip Festival. Despite the weather forecast predicting rain for the week, we were fortunate to get some breaks in the rain that were long enough to get all of the shots we had planned for, and then some.
Went to Discovery Park's West point Lighthouse to observe a confluence of events: king tide, strong wind gusts and gradual clearing of skies. The hope was to get waves crashing near the West Point Lighthouse. Unfortunately, the tide began to recede quickly and by the time the light was good, the waves could no longer reach the point. The result was a bunch of mediocre photos that I decided to use for practice in Lightroom instead.
Maybe I can sell a couple of these to a church for use as flyers or book covers or something.
Cold, wet... a lot more rain fell than originally expected when I left the house. It was an absolute mess but Fujifilm proved to me how well they sealed the X-T3. Combined with the 16-55mm ƒ/2.8, the combo remained water-tight in steady wind and rain with no attempt at protection. Because of the weather, I was obviously a bit low on inspiration, but figured I'd post what I got for the sake of others who took part.
Normally in Seattle, we'll get a couple of inches of snow per winter. This winter, the snow showed up both late and in force, dropping 5 inches of snow on downtown in a single morning. This is on top of a few inches earlier in the week plus a few more inches a day later. As the snow begins to melt from slightly warmer weather bringing rain in the 24 hours since, I've managed to get a few photos processed that reflect the views around downtown in the early hours, shortly after the snowfall stopped.
I walked around downtown at 4am capturing the empty city streets and landmarks between Chinatown and Pier 66. While not very significant compared to other parts of the country, and even the region, the snow was one of the largest single accumulations in recent history for downtown.
It'd been a while so I decided to attend the Glazer's Photowalk on Sunday, Jan 13th in West Seattle. The weather cooperated despite being in the bowels of winter but it was a bit TOO sunny, creating harsh shadows and contrast for the outdoor exercise. I chose to shoot with my 85mm equivalent, the 56mm ƒ/1.2, allowing me to keep some distance between me and my subjects while permitting me to fill the frame with subjects should I choose to do so. The large aperture also allowed for shallow depth of field shots. To do so, I used a 6-stop ND filter, giving me the ability to shoot with a shutter speed that prevented motion blur despite the bright, cloudless skies. It also gave me enough leeway to add blur by drilling down the aperture only a bit.
Every year for the Seafair air show, the Boeing Museum of Flight holds their Jet Blast Bash, inviting fans of aircraft of all types to watch the U.S. Navy's Blue Angels preflight demonstration and takeoff. Although you don't get a view of the actual air show demonstration that takes place in the box over Lake Washington, it's a great alternative to the endless crowds at Genessee Park if you care more about the airplanes than the hydroplanes.
About a month ago, LowePro began to ship their newly design Freeline 350 Backpack. The one thing about the Peak Design pack was the fully configurable interior using a unique shelf design instead of a series of hook and loop pads. LowePro borrowed this interior design, improving it by making the whole system removable, not only to give the backpack more versatility but to make configuring it far easier. This was the first thing I noticed.
After 7 years, it was finally time to replace my mid-2011 21.5" iMac with something larger and more powerful. The transition to using Adobe Lightroom to process my photos, and the slow performance even when exporting JPEGs from the original RAW files was the driving factor toward making the purchase. It's my declining eyesight that convinced me to go with a 27" iMac over another 21.5" model, not to mention the lack of user-accessible RAM in the current 21.5" iMac.