A couple of things that I've been thinking about over the last few months:
A Big Sur gallery — to contain my best shots from there. I thought this would replace my Coast & Bays gallery, but things went in a different direction. For now, at least, this won't be the case. I renamed it California Bays, and allowing it to begin accumulating more best of shots from San Francisco Bay, Tomales Bay, and other California bays, as distinct from coastal images.
My New Mexico gallery in the Nature category (as opposed to the galleries under Travel) has also been re-aligned to include only best of shots.
The category Portfolio has been renamed Nature. This grew out of a somewhat unexpected development with my new Moo photo-business cards, on which I included: Portraits, Events & Nature Photography. In the grander scheme of things, it makes a whole lot more sense to rename my old Portfolio category to Nature, which more accurately reflects that content.
The tabs in the Navbar on the website have also been re-ordered for greater convenience, with About at the end now, and Events second after Home, followed by Nature (the old Portfolio tab). For most visitors to the my website, this should all be transparent, and simply easier to use. The Event tab only goes to the Home page when clicked on. This is because all of the top level items are already categories on their own. Some day, if Smugmug supports sub-sub-sub-categories, this might change, as well.
I haven't been updating this blog much at all lately, and will try to continue to post things here that are relevant to my photography and the site.
The main thing now is that my creative work is re-aligning along the broader areas of Portraits, Events, and Nature Photography. Hopefully, my Smugmug Pro site can keep up with this evolution, making my best work available online.
Update 4/15/2011: The Portfolio category was revived for my Best of 2010 images. I’m considering doing this every year, and may “retro” this for past years, too. Showcase galleries might also appear here in the future.
23 August 2010
26 November 2009
Happy Thanksgiving, Part 2
(continued from Part 1)
I'm actually quite comfortable working with my Nikon D80 with its vertical grip, and our Tamron zooms and Nikon prime lenses. The Tamron SP 17-50mm F2.8 has pretty much become my every day lens, unless the situation clearly calls for a different focal length. My wife is using the Tamron 18-200mm that was initially purchased with the Nikon D50, and frankly, I continue to be blown away by some of the images she is able to capture with that lens. I would have no problem taking it on another trip to Nepal & Tibet. It’s an excellent walk-around lens. We also have the Tamron 70-300mm which she acquired with her Nikon N65 (aka F65) film camera and its 28-80mm kit lens some years ago. (We keep thinking we're going to shoot more film, but we never seem to get around to it.) The Tamron 70-300mm is a fine lens for the price. Neither of us do a lot of longer telephoto work here in the SF Bay Area, though I might bring it along on an overseas trip, even though it's not that fast. Our Nikon primes (50mm F1.8 & 35mm F1.8) are tack sharp, and have more than proven themselves on multiple shoots, when using flash was not appropriate.
Then Nikon introduced the D300s. True, it's just an evolutionary progression from the already very popular D300, which already has some very nice improvements over the D80, and the D300s added even more. Based on the reviews, there were at least 6 features that would be very, very nice to have. In the meantime, my need for an external flash continued, if not increased...
We're blessed with an excellent pro shop nearby in Palo Alto, with a great rental department. Their amazing array of gear, total expertise and ready advice, makes renting lenses from them a very worthwhile experience. I've also been renting one of their two Nikon SB-800 speedlights for various event shoots. And even though they've always had one available, I wondered if the day might arrive when they didn't, and the event that really required a flash?
So a couple of weeks ago, I arrived at the pro shop, credit card in hand, ready to buy an SB-600. Yes, it doesn't have the reach of the SB-800; I've already discovered that, but it was also close to half the price of the SB-900. And there's always one of those two rental units, which could also open up the possibilities of using a second flash. Something my older son Tim was doing 5 years ago. (He was also, by the way, the one that encouraged me to move up from my point & shoot to a DSLR.)
Based on a couple of other podcasts, I also purchased the Gary Fong LightSphere Universal flash diffuser, and the secondary Chrome Dome disc for rooms with higher ceilings. I also ordered Joe McNally's Hot Shoe Diaries, Big Light from Small Flashes. I'm really enjoying this book!
Needless to say, all of this has added a whole new dimension to my photography. More in subsequent posts...
So there's much to be thankful for this Thanksgiving, just in my photography world!
I'm actually quite comfortable working with my Nikon D80 with its vertical grip, and our Tamron zooms and Nikon prime lenses. The Tamron SP 17-50mm F2.8 has pretty much become my every day lens, unless the situation clearly calls for a different focal length. My wife is using the Tamron 18-200mm that was initially purchased with the Nikon D50, and frankly, I continue to be blown away by some of the images she is able to capture with that lens. I would have no problem taking it on another trip to Nepal & Tibet. It’s an excellent walk-around lens. We also have the Tamron 70-300mm which she acquired with her Nikon N65 (aka F65) film camera and its 28-80mm kit lens some years ago. (We keep thinking we're going to shoot more film, but we never seem to get around to it.) The Tamron 70-300mm is a fine lens for the price. Neither of us do a lot of longer telephoto work here in the SF Bay Area, though I might bring it along on an overseas trip, even though it's not that fast. Our Nikon primes (50mm F1.8 & 35mm F1.8) are tack sharp, and have more than proven themselves on multiple shoots, when using flash was not appropriate.
Then Nikon introduced the D300s. True, it's just an evolutionary progression from the already very popular D300, which already has some very nice improvements over the D80, and the D300s added even more. Based on the reviews, there were at least 6 features that would be very, very nice to have. In the meantime, my need for an external flash continued, if not increased...
We're blessed with an excellent pro shop nearby in Palo Alto, with a great rental department. Their amazing array of gear, total expertise and ready advice, makes renting lenses from them a very worthwhile experience. I've also been renting one of their two Nikon SB-800 speedlights for various event shoots. And even though they've always had one available, I wondered if the day might arrive when they didn't, and the event that really required a flash?
So a couple of weeks ago, I arrived at the pro shop, credit card in hand, ready to buy an SB-600. Yes, it doesn't have the reach of the SB-800; I've already discovered that, but it was also close to half the price of the SB-900. And there's always one of those two rental units, which could also open up the possibilities of using a second flash. Something my older son Tim was doing 5 years ago. (He was also, by the way, the one that encouraged me to move up from my point & shoot to a DSLR.)
Based on a couple of other podcasts, I also purchased the Gary Fong LightSphere Universal flash diffuser, and the secondary Chrome Dome disc for rooms with higher ceilings. I also ordered Joe McNally's Hot Shoe Diaries, Big Light from Small Flashes. I'm really enjoying this book!
Needless to say, all of this has added a whole new dimension to my photography. More in subsequent posts...
So there's much to be thankful for this Thanksgiving, just in my photography world!
Happy Thanksgiving!
Thanksgiving—already! Time really flies by these days — everyone seems to be noticing this.
A couple of interesting changes have been developing in my photography lately. I did a Halloween-engagement party shoot. It was a fun party, and another excellent learning experience. While there were plenty of good images captured, I realized how much more I could have done using an external flash. I do occasionally rent one (as explained more below) but there really wasn't time for this event, due to another project earlier during the day.
Last Spring, at my high school reunion near Solvang, California, I was able to have an in-depth conversation about my work with one of the teachers — a graduate of the well-known Brooks Institute in Santa Barbara. It was very illuminating (pun intended). I was making an argument for avoiding the need for flash by using low light photography, perhaps even moving up to a Nikon D700 someday.
The teacher listened patiently, and then politely indicated the limitations of my strategy, particularly for shooting events, people shots & portraits. Even using a camera with excellent low light capabilities, he noted, there will still be times when there just isn't enough light, and potentially good images won't be captured, or not captured as well as they could be. He further suggested that having my own flash would also mean I'd really learn how to use it, as opposed to just putting the rental flash on auto, and hoping that it all just worked.
IAnother concept began to develop in my mind. In one of the regular podcasts I listen to, the two photographer-hosts mentioned that when they travel, particularly on long or overseas trips, it is so much easier to bring along their crop-sensors cameras, since those lenses are smaller and lighter, making a much easier, lighter "kit" to transport and use. They also like the additional reach with telephoto zooms, thus avoiding the need to bring the longer "big glass" lens along. It occurred to me that almost half of my photography already, in fact, involves travel, and hopefully will in the future. And most of my future trips would be candidates for a crop-sensor camera and their conveniently smaller & lighter lenses. Additionally my experiences using "big glass" have been less than positive — these lenses are too heavy and unwieldy to be much fun, especially for the types of shooting I like to do! So what would be the point of moving to a full frame camera, if I wouldn't use it traveling? Another podcast mentioned that there aren't many third party lenses for the full frame cameras, making such a transition even more expensive. Bottom line: I'm just not a full-frame/big glass photographer. Maybe if I were 20 years younger...
(continued in Part 2)
A couple of interesting changes have been developing in my photography lately. I did a Halloween-engagement party shoot. It was a fun party, and another excellent learning experience. While there were plenty of good images captured, I realized how much more I could have done using an external flash. I do occasionally rent one (as explained more below) but there really wasn't time for this event, due to another project earlier during the day.
Last Spring, at my high school reunion near Solvang, California, I was able to have an in-depth conversation about my work with one of the teachers — a graduate of the well-known Brooks Institute in Santa Barbara. It was very illuminating (pun intended). I was making an argument for avoiding the need for flash by using low light photography, perhaps even moving up to a Nikon D700 someday.
The teacher listened patiently, and then politely indicated the limitations of my strategy, particularly for shooting events, people shots & portraits. Even using a camera with excellent low light capabilities, he noted, there will still be times when there just isn't enough light, and potentially good images won't be captured, or not captured as well as they could be. He further suggested that having my own flash would also mean I'd really learn how to use it, as opposed to just putting the rental flash on auto, and hoping that it all just worked.
IAnother concept began to develop in my mind. In one of the regular podcasts I listen to, the two photographer-hosts mentioned that when they travel, particularly on long or overseas trips, it is so much easier to bring along their crop-sensors cameras, since those lenses are smaller and lighter, making a much easier, lighter "kit" to transport and use. They also like the additional reach with telephoto zooms, thus avoiding the need to bring the longer "big glass" lens along. It occurred to me that almost half of my photography already, in fact, involves travel, and hopefully will in the future. And most of my future trips would be candidates for a crop-sensor camera and their conveniently smaller & lighter lenses. Additionally my experiences using "big glass" have been less than positive — these lenses are too heavy and unwieldy to be much fun, especially for the types of shooting I like to do! So what would be the point of moving to a full frame camera, if I wouldn't use it traveling? Another podcast mentioned that there aren't many third party lenses for the full frame cameras, making such a transition even more expensive. Bottom line: I'm just not a full-frame/big glass photographer. Maybe if I were 20 years younger...
(continued in Part 2)
26 August 2009
Some dinner time inspiration from Ansel
Ansel Adams 400 Photographs — want to argue about something positive over the dinner table?
When I was around 10 years old, my mother, my older brother and I stopped in at the gallery-store in Yosemite, and the great master was there. My mother made a connection with him through her friends Brett Weston and Gus Bundy. I was spellbound looking at the superhuman sized prints on the wall behind him. Somewhere in this process, he noticed the Brownie camera around my neck, and my fascination with his images. He asked me what I thought about one. Not knowing what else to say, I was bluntly honest: "I really like the sky and clouds in that picture." There was a twinkle in Ansel's eye, and he admitted, "I spent a lot of time on that sky." Then I heard him softly share with my mother, "make sure he keeps taking pictures".
Fifty years later, I continue to draw inspiration from his images. You can, too. If you think of yourself as an artist, if B+W strikes a deep chord in your soul — this is a wonderful book. Considering the number of images (400), and the history and descriptions, it’s well worth the price!
Some people say that my New Mexico images remind them of Ansel’s work. I would add Brett & Edward Weston, as well.
When I was around 10 years old, my mother, my older brother and I stopped in at the gallery-store in Yosemite, and the great master was there. My mother made a connection with him through her friends Brett Weston and Gus Bundy. I was spellbound looking at the superhuman sized prints on the wall behind him. Somewhere in this process, he noticed the Brownie camera around my neck, and my fascination with his images. He asked me what I thought about one. Not knowing what else to say, I was bluntly honest: "I really like the sky and clouds in that picture." There was a twinkle in Ansel's eye, and he admitted, "I spent a lot of time on that sky." Then I heard him softly share with my mother, "make sure he keeps taking pictures".
Fifty years later, I continue to draw inspiration from his images. You can, too. If you think of yourself as an artist, if B+W strikes a deep chord in your soul — this is a wonderful book. Considering the number of images (400), and the history and descriptions, it’s well worth the price!
Some people say that my New Mexico images remind them of Ansel’s work. I would add Brett & Edward Weston, as well.
23 August 2009
Flickroom — an LR interface for Flickr
I've been trying out Flickroom. I started out on Flickr, and then moved to Smugmug, initially for the interface — hey, all those white pixels are really eye-fatiguing after a while! And, I didn't see much reason to go back. Well, actually, the groups on Flickr are cool.
Flickroom is an Adobe AIR app, and to be honest, part of my curiosity was to test out AIR, on something that I might be using. I've since shown and emailed it to several friends and colleagues, and their actions have been similar: why didn't Flickr do this in the first place! It's true, it's a nice front-end, especially for those of us that prefer less fatiguing darker interfaces.
It's been quite a while since I uploaded anything to Flickr. My first digital SLR purchase coincided closely with the public beta for Adobe Lightroom, and I started with Smugmug not long after that. I've done two uploads with Flickroom so far. It's a significant improvement. Not quite as responsive as a local app, but the performance is close. My problem, I guess, is the back-end. Flickr and Smugmug are worlds apart for me now. The analogy of bicycles & airplanes comes to mind.
Well, to each, his or her own, I guess. If you're a Flickr user, be sure to check out Flickroom.
Update 4/15/2011: Glad to see that Flickroom is alive and well, and continuing to be improved! The link changed, and has been updated.
Flickroom is an Adobe AIR app, and to be honest, part of my curiosity was to test out AIR, on something that I might be using. I've since shown and emailed it to several friends and colleagues, and their actions have been similar: why didn't Flickr do this in the first place! It's true, it's a nice front-end, especially for those of us that prefer less fatiguing darker interfaces.
It's been quite a while since I uploaded anything to Flickr. My first digital SLR purchase coincided closely with the public beta for Adobe Lightroom, and I started with Smugmug not long after that. I've done two uploads with Flickroom so far. It's a significant improvement. Not quite as responsive as a local app, but the performance is close. My problem, I guess, is the back-end. Flickr and Smugmug are worlds apart for me now. The analogy of bicycles & airplanes comes to mind.
Well, to each, his or her own, I guess. If you're a Flickr user, be sure to check out Flickroom.
Update 4/15/2011: Glad to see that Flickroom is alive and well, and continuing to be improved! The link changed, and has been updated.
NiceNames on Smugmug
This is a really exciting new feature on Smugmug. Take a look at the URLs in the previous post. We used to be limited to domain/category. Now the NiceNames will automatically pick up the gallery names (this is editable), and the old NiceNames will be remembered if one is changed, so links won’t break in the future.
Here's an example: http://www.chriswesselmanphotography.com/Nature/CA-bays/
Update 4/15/2011: Smugmug also has sub-sub-categories now, too. In this case “CA-Big Sur” is the edited NiceName for the sub-sub-category called “Big Sur Coast“: http://www.chriswesselmanphotography.com/Travel/CA-Big-Sur/Labor-Day-Weekend-2009/
Here's an example: http://www.chriswesselmanphotography.com/Nature/CA-bays/
Update 4/15/2011: Smugmug also has sub-sub-categories now, too. In this case “CA-Big Sur” is the edited NiceName for the sub-sub-category called “Big Sur Coast“: http://www.chriswesselmanphotography.com/Travel/CA-Big-Sur/Labor-Day-Weekend-2009/
Spring on Hwy 1, finally done!
This was a serendipitous trip in late April 2009. I decided to drive down and back up the Big Sur Coast (Hwy 1, aka PCH, Pacific Coast Highway), and caught some interesting light both times; and another dawn shoot from the Skyview Motel in Los Alamos (near Dunn School, Los Olivos and Solvang). This year's dawn shoot was even better than last year's with some interesting mist in the hills. Here is the gallery. My Big Sur shots on the way down and back are here.
I like to push the envelope on digital photography, trying to capture low light, dynamic range, interesting light, things like fog and mist that can present some challenges. I'm also playing with B+W film emulations — Fuji Acros, Rollei R3, and of course Kodak Tri-X. As part of this, I've decided to keep my B+W images separate, i.e. start from the RAW image and make those images only B+W. Otherwise, it gets into this guessing game, at least for me, of OK, do I like this better in color or B+W? With those images finished now exclusively B+W, that guessing game goes away. Yes, there are some similar images, but they're actually separate images. There's something timeless about B+W — maybe it's about that (analog) darkroom I always hoped for.
And, yes, I'm still thinking about shooting some of these films in my wife's Nikon N65 (aka F65 outside the USA). I'm also very impressed with what I'm reading and hearing about the Mamiya rb67 and rz67 medium format cameras. My younger Chris and several friends and acquaintances are experimenting with these. Some impressive stuff. Check out this link of my friend Allan Chen's shots. Some really rich shots here. Here’s another page that's really impressive, discussing digital sensors vs film resolutions. I guess I need to get out Sue's N65 first, and see if I'm willing to go that extra mile.
I like to push the envelope on digital photography, trying to capture low light, dynamic range, interesting light, things like fog and mist that can present some challenges. I'm also playing with B+W film emulations — Fuji Acros, Rollei R3, and of course Kodak Tri-X. As part of this, I've decided to keep my B+W images separate, i.e. start from the RAW image and make those images only B+W. Otherwise, it gets into this guessing game, at least for me, of OK, do I like this better in color or B+W? With those images finished now exclusively B+W, that guessing game goes away. Yes, there are some similar images, but they're actually separate images. There's something timeless about B+W — maybe it's about that (analog) darkroom I always hoped for.
And, yes, I'm still thinking about shooting some of these films in my wife's Nikon N65 (aka F65 outside the USA). I'm also very impressed with what I'm reading and hearing about the Mamiya rb67 and rz67 medium format cameras. My younger Chris and several friends and acquaintances are experimenting with these. Some impressive stuff. Check out this link of my friend Allan Chen's shots. Some really rich shots here. Here’s another page that's really impressive, discussing digital sensors vs film resolutions. I guess I need to get out Sue's N65 first, and see if I'm willing to go that extra mile.
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