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The Austin Lounge Lizards at the Armadillo Christmas Bazaar

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20121216_Armadillo_Christmas_Bazaar_111This blog post will be quite a bit different from my previous posts – and it might not stay up long. If asked to, I will remove the photos of the band, but I’ll just leave my story here in place.

Barb and I have a social group that consists of us and two other couples. We get together every 4 to 6 weeks and rotate whose house we have dinner and play table games at. That is, except during December. Everyone is always so busy during that month that we don’t want to add any extra burden on whose turn it would be. Instead, every year, for the past 6 years, we have met at a local restaurant for a meal and then afterwards we head over to the Armadillo Christmas Bazaar and enjoy seeing a local Austin band perform in a rather intimate setting.

This year we met our friends at Threadgill’s Restaurant on Riverside Drive for brunch on Sunday morning, December 16, 2012. We were finished eating by 11:00 AM, so we drove the 2 blocks over to the Palmer Events Center, where the Armadillo Christmas Bazaar has been held for the last 3 or 4 years.

The Armadillo Christmas Bazaar is one of those things that helps “Keep Austin Weird“. It is a place where all sorts of artists come together to sell their wares to those who are shopping for different or unusual Christmas presents.

20121216_Armadillo_Christmas_Bazaar_022As a means to help draw in more shoppers, they have local musicians perform 2 or 3 times a day. The talent that they bring in is great!

In the past, we have seen some outstanding shows by Marcia Ball, Albert and Gage, Jimmie LaFave, Eliza Gilkyson, and one my very favorites – Ray Wylie Hubbard!

20121216_Armadillo_Christmas_Bazaar_021I have brought a camera to a couple of the shows in the past. I have some pretty good photos of Eliza Gilkyson (2010) and Ray Wylie Hubbard (2011) that I took using my Canon PowerShot G12. In 2009, I used my BlackBerry to get a few shots of Jimmie LaFave, but the image quality was pretty darn bad.

Eliza Gilkyson

Eliza Gilkyson – December 2010

 

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Ray Wylie Hubbard – December 2011

After buying my Olympus OM-D E-M5 this past May, I have been able to take what I consider a “nice camera” with me into places that I never would have attempted to take my Canon 5D or 5D Mark II into. Maybe you read my earlier posts about the Tour of Moncrief-Neuhaus Athletic Complex, my adventures at Ruidoso Downs and Grace O’Malley’s Irish Pub in Ruidoso, New Mexico, and the Univ. of Texas vs. Wyoming football game. I am rather certain that I would not have been allowed to bring in a large DSLR camera into any of those places, and take the types of photos that I did manage to get with my little Olympus OM-D E-M5 camera.

In previous years, I never tried bringing in either my Canon 5D or Canon 5D Mark II into the Armadillo Christmas Bazaar. I just didn’t believe that I would be allowed to bring it in. On the other hand, when I did bring in my Canon PowerShot G12, I made sure I had it hanging from the strap around my neck – and in plain sight. No one said anything at all about it – not as I entered the building, or when I used it during the show.

So it was with all of this in mind that this year I thought I would see if I would be allowed into the event with my Olympus camera hanging around my neck. If not, I would only have to walk a few hundred yards (meters) back to the car to hide the camera and then return to the Bazaar.

Now I knew that the Olympus 12-50mm f/3.5-6.3 lens wasn’t going to be very useful in this environment. I was going to need some lenses that would allow in much more light than that otherwise very useful zoom lens would. I put the Olympus 45mm f/1.8 lens onto the camera, and wrapped the Olympus 12mm f/2.0 and the Panasonic/Leica 25mm f/1.4 lenses into some Tenba 10 inch square Messenger Wraps, and dropped them into Barb’s suitcase-sized purse.

As we entered the front door, I scanned the lobby for any “No Photography” signs, and didn’t see any. We purchased our two US$8.00 tickets, which I’m pretty sure the only words printed on them were “Admit One”. We walked all of 8 feet (< 3m) from the ticket counter to the person that we handed our ticket to. Everyone was very friendly, and nobody said anything about the camera hanging around my neck.

It was only a few minutes after 11:00 AM, and while the shopping was all open for business, the band wasn’t going to start until 12:00 noon. We headed straight for the area where the stage was. We were in luck, as nobody was sitting in any of the chairs yet.  Barb went straight to the front row and claimed 6 chairs just to the right of the center isle!

The photo below was taken right at 11:30 AM, as the Austin Lounge Lizards were performing their sound check. I show you this photo just to get the “big picture” setting for where we were. Notice the person sitting on the left side of this photo with the orange cap? That chair on the front row, in front of his cap, is where I would be sitting for the show. Barb is the blonde in the front row, and those are our friends Diane and Stan sitting next to her. (Holly and Bryan had to head back to Threadgill’s where they had accidently left their credit card…)

20121216_Armadillo_Christmas_Bazaar_020The photo above was taken with the Panasonic/Leica 25mm f/1.4 lens. I had the ISO cranked up to 1600, and had the aperture almost wide-open at f/1.8. I had the exposure compensation cranked down to – 2/3 stop. Even with all of that, the shutter was open for a relatively long 1/20th of a second. The 5-axis in-body image stabilization of this little Olympus OM-D E-M5 camera is incredible!

I went to the restroom, just to make sure I wouldn’t need to go later, during the show. On my way back, I stopped to talk to the person manning the sound controls. After a few moments, she walked off to take care of something. Even though the lighting was very dim, I thought the sound board looked pretty cool, so I snapped this photo.

20121216_Armadillo_Christmas_Bazaar_0231/20 second, f/2.8, ISO 1600 and the sliders in the lower left are due to the depth of field, not due to camera movement during the 1/20 second.

OK, now it’s show time!  The next photo was taken with the Olympus 12mm lens and the aperture set to f/2.8. 1/50 second and ISO 1600. I was sitting in my chair, and I had the camera to my eye. The electronic viewfinder made it pretty easy to tell that I needed some negative exposure compensation to keep the black curtain background black. The 12mm lens could get all four musicians into the frame of the photo, but I could tell right away that it wasn’t going to get in close enough for some really interesting photos….

20121216_Armadillo_Christmas_Bazaar_027Reminder: You can always view any photo at a larger size by just clicking on it. You will then need to use your browser’s “Back Button” to return to my story.

The Austin Lounge Lizards are a very talented band! They have been around for quite some time, and have gone through a few personnel changes. The current members, from left to right, are: Conrad Deisler (guitar and mandolin), Bruce Jones (bass guitar), Hank Card (rhythm guitar), and Darcie Deaville (fiddle and mandolin). They play some very lively songs that always contain funny lyrics or satirical views. Every song makes you smile – big – and most of them actually cause you to laugh!

During the “sound check” photo that I showed earlier, they were playing a song that explained what was the cause of the sorry state of the American economy today. That song is entitled “Teenage Immigrant Welfare Mothers on Drugs”.  Yep, I think that pretty well set the tone for the rest of the show!

After you finish reading the rest of my post, you really should go check out their web site by clicking here, and then clicking on the “Listen” link right above their group photo (but don’t select “Lyrics” under “Listen” – just click on “Listen”). Scroll down to just the 2nd song (highlighted in purple) and you can listen to “Teenage Immigrant Welfare Mothers on Drugs”.  That’s pretty representative of the type of energy that they produced on stage – just a few feet in front of us!

While you are there, be sure to check out the songs “Old Blevins”, “Stupid Texas Song”, and even “Shallow End of the Gene Pool”. Great music with funny lyrics!

OK, so enough of my ramblings… Let me show you some of the photos that I took. Remember this, though. I never stood up, I remained in my chair, and I didn’t dare use a flash!  I put on the Olympus 45mm f/1.8 lens, set the ISO on the camera to 1600, and took a photo of each member of the band.

20121216_Armadillo_Christmas_Bazaar_033Darcie Deaville on fiddle – 45mm, f/2.0, 1/60 second, ISO 1600

I left the White Balance setting on the camera at Auto. They all came out very close to the Tungsten setting in Lightroom, so I took the average of all the temperature and tint values, and set every photo in this series to the same values (temp = 2750, tint = +5).

20121216_Armadillo_Christmas_Bazaar_036Bruce Jones on bass – 45mm, f/3.2, 1/80 second, ISO 1600

I set the auto focus point to be the area dead-center in the middle of the frame. I would aim the center of the view finder (the frame) right at the musician’s eye, push the shutter button down halfway (which would lock the focus and set the exposure), then move where the camera was pointed to that would give me a more pleasing composition (i.e. not having their face always being in the center of the photo).

20121216_Armadillo_Christmas_Bazaar_038Conrad Deisler on guitar – 45mm, f/1.8, 1/60 second, ISO 1600

I left the metering mode set to what Olympus calls “Digital ESP metering”, which is the same as what Canon calls “Evaluative” metering, and Nikon calls “Matrix” metering. That got me close to a “correct” exposure when I had pushed the shutter button halfway (to set the focus). From there I used the extremely useful “Highlight & Shadow Display” mode of the electronic view finder (EVF) to tell me how much exposure compensation to use to “fine tune” the exposure.

20121216_Armadillo_Christmas_Bazaar_043Hank Card on guitar – 45mm, f/1.8, 1/125 second, ISO 1600

On all four of the previous photos, I had dialed in -2/3 stop of exposure compensation, to keep the blacks in the background very near black. (I didn’t know it at the time, but I would later add back between +1/3 and +1/2 stop of exposure during post processing in Lightroom 4.3.)

What I did realize though, was that I was getting a faster shutter speed than I was expecting. I could drop my ISO to a lower sensitivity setting, which would result in less noise in the image, but it would also mean that I would be using a slower shutter speed. I have shot enough with this camera to know that the image stabilization would allow me to do that. I would just have to time my shots to the moments when the musicians wouldn’t be moving quickly – or that movement would be blurry in the photo.

OK, so I dropped the ISO sensitivity from 1600 to 1000, and opened the aperture as far as I could, which is f/1.8 for the 45mm lens. After reviewing the photos later on my computer, I was really glad that I had changed the ISO to a lower setting. When viewing the images at 100% magnification on my 24″ monitor, the amount of graininess is much less, especially in the facial skin areas of the musicians. You probably cannot see the difference by viewing the small, highly compressed images here on my blog post, but the difference is certainly noticeable when viewed “large” (on my monitor and on 19″ prints).

20121216_Armadillo_Christmas_Bazaar_055Hank Card on guitar – 45mm, f/1.8, 1/80 second, ISO 1000

Bio from their web site: Hank is one of the founding Lizards. He grew up in Oklahoma City, went to Princeton, where he met Conrad Deisler, and graduated from The University of Texas School of Law. Hank is one of the main songwriters of the Lizards.

20121216_Armadillo_Christmas_Bazaar_059Darcie Deaville on mandolin – 45mm, f/1.8, 1/50 second, ISO 1000

Bio from their web site: Starting at 16 as a street performer in Toronto, Darcie Deaville is an accomplished actor, singer, writer, producer, musical director and coach. She’s collaborated with artists including Ani Di Franco, Tom Paxton, Ray Wylie Hubbard, John McEuen, David Lindley, and Eliza Gilkyson. Darcie’s toured from the Yukon to the Yucatan and throughout Europe.

20121216_Armadillo_Christmas_Bazaar_066Darcie Deaville on fiddle – 45mm, f/1.8, 1/40 second, ISO 1000

Now you can clearly see the motion blur in the photo above, and it gives you a real sense of just how smoking hot of a fiddle player that Darcie is!

OK, that gets us to intermission, where I put the 12mm f/2.0 lens back on.12mm, f/3.2, 1/15, ISO 1000

I agreed with my previous assessment that even though I was very close to the stage, it was just too wide angle of a lens for this situation. I later learned something very valuable about this lens when I had this photo up on my computer monitor. Nothing in that photo is very sharp. It is supposed to be a very sharp lens. The depth of field on a wide angle lens usually extends from just a few feet away, all the way out to infinity. The aperture was set to f/3.2, which should give the equivalent depth of field that a 24mm lens set to f/6.4 on a full frame sensor camera would.

It should, but it wasn’t. What I later learned, by reading a review of this lens by Ming Thein, was that this particular model of lens has a ring around the barrel that you move back and forth to change from auto focus to manual focus mode. As you are putting this lens onto the camera, it is very easy to move that ring back towards the camera, which puts it into manual focus mode. That’s what happened, and I didn’t realize it until after I was at home.

Still during intermission, I changed back to the Panasonic/Leica 25mm f/1.4 lens.

20121216_Armadillo_Christmas_Bazaar_08125mm, f/2.0, 1/40, ISO 1000

I then wandered to the back row of the seating, and waited patiently in the small line to purchase CD and other souvenirs of the band. While I was standing there, I took this photo, looking back into the shopping Bazaar. You can see just how big of a place that we were in.

20121216_Armadillo_Christmas_Bazaar_08325mm, f/2.5, 1/25, ISO 1000

I bought two of the Austin Lounge Lizards’ CDs: Small Minds (1995) and Employee of the Month (1998). I’ve listened to them both several times now, as still enjoy them very much. I played them in the car when we went to Barb’s sister’s house the weekend after Christmas, and Barb quickly recognized the songs that we had heard them play live, just two weeks before hand. The lyrics just make you laugh out loud at times!

OK, intermission is now over, and the band is back on stage! With the 25mm lens, the field of view was now wide enough to get two musicians into the frame, so I took a few photos of the musicians in pairs.

First to my right….

20121216_Armadillo_Christmas_Bazaar_085Hank Card and Darcie Deaville – 25mm, f/1.6, 1/60, ISO 1000

And then to my left.

20121216_Armadillo_Christmas_Bazaar_086Conrad Deisler and Bruce Jones – 25mm, f/1.8, 1/50, ISO 1000

I was pretty sure that I had at least a few good “keepers” by now, but just for good measure I put the 45mm lens back on and occasionally took a shot when things seemed to get “interesting”.

20121216_Armadillo_Christmas_Bazaar_097Conrad Deisler on mandolin – 45mm, f/1.8, 1/50 second, ISO 1000

Bio from their web site: Another founding Lizard, Deisler has been monkeying around with music and electronics since the first grade. One of his earliest memories involves singing along with his mother’s Electrolux vacuum cleaner. His first paying gig came in eighth grade. In 1974, he woke up at the Union Grove Fiddlers’ Convention in North Carolina. Since then, he has been devoted to bluegrass and (real) country music. Influences include George Jones and Spike Jones, Frank Zappa and John Hartford, and Bela Bartok and Emmylou Harris.

20121216_Armadillo_Christmas_Bazaar_098Conrad Deisler in ski mask and on guitar – 45mm, f/1.8, 1/60 second, ISO 1000

The Austin Lounge Lizards really have some unique entertaining talents!

20121216_Armadillo_Christmas_Bazaar_103Bruce Jones on bass guitar – 45mm, f/1.8, 1/125 second, ISO 1000

Bio from their web site: The newest Lizard is Bruce Jones, a Texas Songwriter who spent 16 years playing bass with Omar and the Howlers. This involved a lot of bad behavior, close calls and lucky breaks, including an album on CBS records and tours around North America and Europe with artists including Stevie Ray Vaughan, the Fabulous Thunderbirds and Johnny Winter. In 2004, he released his first album of original songs, including “Fight Like a Girl,” which won Second Place in the Austin Songwriter’s Group Songwriting Contest in the “Rock” category. In 2008 he released another album of original songs called “Rough Tough Game”.

Lastly, this next photo with Bruce Jones really “getting down”, is one of my favorites of the whole bunch. I suppose that I could have cropped out Conrad and Hank, but in the end I chose not to do that.

20121216_Armadillo_Christmas_Bazaar_106Bruce Jones on bass guitar – 45mm, f/1.4, 1/100 second, ISO 1000

Man, Bruce has played with some GREAT Austin bands. Omar and the Howlers, Stevie Ray Vaughan, and the Fabulous Thunderbirds. Wow! I have at least 2 CDs from each of these three artists.

This post has taken me quite a while to put together. I went to the Austin Lounge Lizards web site and obtained their email addresses to contact them. On January 3rd, I sent a message requesting their permission to post these photos on my blog. After I didn’t get any response from them, I sent a follow-up message on January 7th. I never got a response to that request either. After another week, I had changed my thinking to “well, they didn’t say yes, but they certainly didn’t say no, either”. If I am ever contacted by the Austin Lounge Lizards asking me to remove their photos, I will do so without any hesitation. If you have read this far and you do not see the photos that I referred to in my blog post, now you know why you don’t see them!

I certainly hope that the photos stay. We really enjoyed the show, I continue to enjoy the CDs that I bought, and I hope that others that see this blog will someday go to an Austin Lounge Lizards concert. I am sure that you will enjoy the show as much as we did!

Thank you for visiting my blog.

Photo Walk on the University of Texas Campus

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20121215_UTexas_Walk_003I’m still trying to get into the new rhythm of how we will operate going forward at the office, but my weekends have been just fine. This past Saturday, on December 15th, before the sun came up, I was in my car headed toward downtown Austin. I wasn’t sure exactly where I was headed, but I was eager to do some of what Robin Wong calls “Shutter Therapy”.

Now Robin lives in Kuala Lampur, Malaysia – which is a densely populated city. As a result, Robin has become an outstanding “street photographer”. I am anything but that. At any rate, I was hearing the siren’s song to go out and photograph whatever seemed interesting to me at the time.

Although it had not rained in Austin since October 26th, it was drizzling enough that I had to use my windshield wipers while heading south on U.S. Interstate 35 just as the skies began to light up from the quickly approaching sunrise. The temperature was unseasonably warm – it was 66 degrees (18.9 C), so even though it was drizzling intermittently, I knew that I wouldn’t need my jacket. I decided that instead of heading to downtown Austin, I would check out The University of Texas campus.

I was glad that I had my weatherproof Olympus OM-D E-M5 camera, and the equally weatherproof 12-50mm f/3.5 -6.3 lens. That’s a “dark” lens, and the sky was dark with clouds, so I knew that even though the image stabilization of this camera is outstanding, I was going to use my small Gitzo GT1542T Traveller tripod.

I got out of the car at the Joe C. Thompson conference center parking lot right at 7:15 AM, which was 5 minutes before the official time of the sunrise.

Since I was going to be using a tripod, I set the ISO to 200, which is the lowest sensitivity that the E-M5 allows, and turned off the fabulous image stabilization. I set the mode dial to Aperture Priority, set the focus mode to Single AF, and turned on the self-timer for 2 seconds. I put the White Balance on Auto, and started walking toward the LBJ Library and Museum. I took the photo above at the official time of sunrise, which was 7:20 AM.

Reminder: You can always view any photo at a larger size by just clicking on it. You will then need to use your browser’s “Back Button” to return to my story.

I had no plan for a route. I was just going to go where my feet followed my attention.

This is from the southwest corner of the LBJ Library.

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Stairs heading down.

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Reflection of UT Tower

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There was nobody around. I literally mean nobody. The street beside the Performing Arts Center was like something out of a post apocalypse movie.

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This is where the Texas Longhorn play football. It is the Darrel K. Royal – Texas Memorial Stadium. This is the view of the northwest corner of the stadium.

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Across the street, out front of the Performing Arts Center is the interesting arrangement of bells.

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The official name of the stadium.

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At this point, I decided to do a custom white balance in the camera. I use a simple WhiBal card to do that.

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This photo was taken just after I set the custom white balance in the camera. I might just need such a photo to see how closely the camera and Adobe Lightroom agree. I also used this photo to set the white balance for the photos that I had already taken (but I didn’t do it for the opening photo).

High on the east side of the stadium.

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To take the photo above, I had climbed up to the top floor of a parking garage across the stadium. I had never been up there before, so I walked to the south while still on top of the garage. As I approached the south end of the stadium I got a pretty nice view of downtown Austin, which is about 15 blocks from where I was.

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Going just a little further, I could now see the Texas State Capitol Building, which is about 8 blocks away.

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Looking back toward the stadium, I was surprised at just how much I could see “inside” the stadium!20121215_UTexas_Walk_055

 

Here’s a view of the inside and the outside of the east side of the stadium.20121215_UTexas_Walk_062

 

This is the back side of the GIANT scoreboard, which is also a video screen.20121215_UTexas_Walk_064

 

Back down on the street, I looked back to see the garage I was on top of, and the stadium across the street from it.20121215_UTexas_Walk_070

 

Walking around the south end of the stadium, I passed the truck that carries the football team’s equipment to many of the away-games.20121215_UTexas_Walk_071

 

Pedestrian ramps on the west side of the stadium.20121215_UTexas_Walk_081

 

Time to leave the stadium, and head west on 21st Street. Across from Gregory Gymnasium, I caught this view of the UT Tower.20121215_UTexas_Walk_085

 

As I passed the Red McComb’s School of Business, this statue in front of the autumn colored trees caught my attention.20121215_UTexas_Walk_088

Another 1/2 block took me to the east side of Littlefield Fountain, which is a monument by Italian-born sculptor Pompeo Coppini.

The fountain was built with money from a $250,000 trust established by Major George W. Littlefield as a war memorial.  It was unveiled in 1933, at a time when the Old Main Building was still in use.20121215_UTexas_Walk_100-Edit

The bright gray sky and the light stone tower, with the dark live oak trees, seemed like I good opportunity to play around with the camera a bit. The photo above is an HDR photo.

A view from the side shows the cascading fountains.20121215_UTexas_Walk_127

Up the stairs to the tunnel of trees.20121215_UTexas_Walk_112

 

The main administration building is at the base of the UT Tower.20121215_UTexas_Walk_155

 

Turning around, you see the George Washington statue in the foreground, and the Texas State Capitol Building, 9 blocks away.20121215_UTexas_Walk_157

 

This is an HDR photo of the southeast corner of the UT Tower.20121215_UTexas_Walk_159-Edit

 

Architectural details are always interesting!20121215_UTexas_Walk_166

 

Rusty balls (with pennies glued to them).20121215_UTexas_Walk_169

From the East Mall Fountain, which is under renovation, I saw this view of the northwest corner of the stadium. It was 10:15 AM, so I had been out for exactly 3 hours – and my camera battery had finally ran out. After I changed the battery, I decided to try and get a better photo of the stadium from this position, but I was shooting almost directly into the direction of the sun, and the sky above the stadium was very bright, while this side of the stadium was in the shade (well, as shady as it gets on a very overcast day). The result was the rather unartistic HDR photo.20121215_UTexas_Walk_181-Edit

 

At the base of the northwest corner of the stadium, it is revealed where the “Texas Memorial Stadium” name comes from.20121215_UTexas_Walk_189

Here there is a statue of a World War I soldier, and on the wall behind him is a metal plaque (bronze ?) that has etched into it all of the names of the American soldiers that were Texans that died in World War I.20121215_UTexas_Walk_201

 

Walking across the north side of the stadium, you pass the emblem of The University mounted on the doors to the north entrance.20121215_UTexas_Walk_209

 

As my journey was coming to an end, I stopped and took another look back towards the UT Tower.20121215_UTexas_Walk_215

 

Up the stairs at the base of the LBJ Library and Museum.20121215_UTexas_Walk_225

 

My lonely Honda was waiting patiently for me, after my 4 hour walk.20121215_UTexas_Walk_231

This was certainly not my usual aerobic Saturday morning walk, but it was a fun one.  I like being a tourist in my own town.

Later that same evening, the Lady Longhorn volleyball team won the National Championship, by beating the lady Oregon Ducks in 3 straight sets. Congratulations!

Whenever a team wins a national championship, The University of Texas will light the entire UT Tower top-to-bottom with orange colored flood lights.

Thank you for visiting my blog.

Lighting Set-up for Portraits at Curves

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This post describes the equipment in my portable “portrait studio” that I set-up at the neighborhood Curves facility for their 10th anniversary celebration. To walk through it, I’m simply going to describe what you see in the photo above, and the crappy iPhone photo below.

Reminder: You can always view any photo at a larger size by just clicking on it. You will then need to use your browser’s “Back Button” to return to my story.

Before I get into the equipment, I want to draw your attention to the far right side of both of the photos. There, affixed to the large mirror on the wall are several of the photos that I had taken for the Curves Member of the Month photos back in 2011. If you look close, you may even spot the two portraits of Barb that I showed at the beginning of my previous blog post.

OK, now on to the lighting. As you can see, my whale gray backdrop was positioned halfway in front of a floor-to-ceiling window that was allowing lots of morning sunlight to come streaming in. To make my backdrop more opaque, I simply draped a king-size bed sheet behind the backdrop, and used 4 red handled A-clamps to hold it in position.

The facility was brightly lit with probably 100 banks of fluorescent lights in the ceiling. The sunlight was streaming in from the window on the left. I wanted to use my small portable Canon 580EX II Speedlites to illuminate the people in the portraits. To complicate things further, all three of those light sources emitted a different color (spectrum) of light. How the heck was I going to make these women look good under such conditions?

To start, I put up a round reflector on the left side of the photos above, to block the sunlight from coming in from the window and directly hitting the model, who would be sitting on the posing stool that you see in the middle of the set-up. The round reflector is a Creative Light 5-in-1 Reflector, which is 47″ in diameter. I put the black cover on this reflector facing the posing stool. I used a Paul C. Buff RBH2566 reflector kit mounting arm to attach the reflector to a standard light stand. I have wasted good money on three other such arms in the past, and this one is not only the best that I have used, it is also the least expensive!

As for the fluorescent lights, I borrowed the step ladder at Curves, and climbed up to disable the two light banks that were directly overhead of the set.

At this point, the ambient light was what it was, and I was just going to have to deal with it. The way that I deal with it, is to “kill it in the camera”. What the heck is that?

I wanted to underexpose any picture that would be taken with just the ambient lighting. To make the digital sensor of my Canon 5D Mark II the least sensitive to light, I set the ISO to 100, which is where this camera also captures the most detail that it is capable of. The “sync speed” of this camera is 1/200th of a second, so that is the fastest shutter speed that I would be allowed to use later, after I turned on my flashes.

With the ISO at 100, and the shutter speed a 1/200th of a second, the only thing left that I could use to control the exposure was the aperture (the diameter of the opening in the lens that light passes through).   So before I turned on my flash units, I took a few test shots, where I adjusted the aperture down to a small enough opening that any photos that I took would be severely underexposed – effectively killing the ambient light “in the camera”.

The photo above was taken with the aperture set at f/ 5.6. Notice that this is the same photo at the very top of this post – except in this photo, the flashes were not turned on. You can see the white bars of the exercise equipment, and you can see the gold star balloon on the right in both versions of the photo. So, even without the flash, there was still some of the fluorescent lighting that was going to contribute to the exposure, but it wasn’t going to be very significant.

I could have made the aperture smaller by setting it to f/ 8 or even f/11, but that would mean than when I did turn on my flashes, they would have to put out twice (from f/5.6 to f/8) or even 4 times (from f/5.6 to f/11) the amount of light. That would drain the 4 AA batteries in each flash unit twice, or 4 times, as fast.  By  leaving the aperture at f/5.6, I was expecting to get at least 100 flashes before I would have to change the batteries.

So those were my camera settings: ISO 100, shutter at 1/200th of a second, and the aperture at f/5.6. About the only other thing to mention about the camera itself is that I put the camera into “mirror lock-up mode”, and I use an electronic cable release to trip the shutter.

I put the camera on the tripod, and put a Speedlite in Master Mode into the hot shoe of the camera. This Master was set so that it would communicate and send commands to the 4 Slave units I was going to use, but this Master would not put out any light that would contribute to the actual exposure. I pointed the Speedlite up towards the white ceiling, so that it could bounce its control pulses of lights to the Slave Speedlites that I was about to use.

The lens that I chose to use that day is a Canon EF 85mm f/1.8 USM lens. This is not a high end Canon “L” lens (L for luxury), but it is still a wickedly sharp lens. The 85mm lens on a full-frame sensor camera, like the Canon 5D Mark II is a allowed me to back up about 6 to 8 feet (2 to 3 meters) from the models, and that’s about all the space that I had to work with before I would be bumping up to the exercise equipment.

At that distance, with that 85mm lens set to an aperture of f/5.6, I was going to have to pay careful attention to what the camera would focus on. I wanted to use autofocus, because even though I was going to have them sit on the posing stool, I was expecting that they would be swiveling back and forth as we experimented with more than one pose. I was going to be dealing with less than 1 foot (~10cm) of depth of field (front to back in focus). If the camera focused on the front of the model’s blouse, her eyes could be 6 inches behind that, and therefore not very sharp – and her earrings would certainly be getting blurry. I also knew that I would have to really be paying attention to this later in the day when I had a mother and daughter couple shot, and that the last time slot was the largest group of the day – a family of 4.

Since the camera and lens were set-up, the next thing that I worked on was the background lighting. I wanted the gray backdrop to be lit consistently (the same for every shot) and I wanted a vignette effect (a darkening of the corners of the photo) to surround the head of the model.

I put a Canon 580EX II Speedlite on a small light stand (the right-most stand in the two set-up shots above). I put it into what Syl Arena calls “free agent” mode. This is a mode that allows you to shoot with both E-TTL and Manual control of Speedlites at the same time. This is all described on page 148 of Syl’s book “Speedliter’s Handbook: Learning to Craft Light with Canon Speedlites”.

To get the vignette effect, I first put a large ExpoImaging Rogue FlashBenders onto the Speedlite and bent it into a shape that I thought would create somewhat of a spotlight onto the backdrop, directly behind the model. I never could get the somewhat uniform spotlight effect that I was after, and so after about 10 minutes of trying, I took off the FlashBender, and replaced it with a ExpoImaging Rogue 3-in-1 Honeycomb Grid unit.

I used the 45 degree honeycomb grid, and the spotlight pattern was easily obtained!  All I needed to do now was to dial in the amount of light (intensity) that this Speedlite would put out each and every time it fired.

Even though it is a trial-and-error effort, because I was using a whale gray backdrop, it is a very simply process. I would simply put the camera on the tripod, and take a photo of the backdrop. Since it was gray, I wanted a large spike on the histogram (on the back of the camera) to be positioned a little to the right of the center of the graph. (I wanted it to be brighter than 18% gray.) So I would take a photo, look at the histogram, walk over to the flash and dial up or dial down its power setting, and go back to the camera and take another photo, look at the histogram, rinse, and repeat. It only took a couple of shots to determine that I wanted this Speedlite set to 1/4 power.

Normally a well lit backdrop is sufficient to separate your model from the backdrop, but I like to do a little more. I like to use a “hair light”. This is seen in the two set-up photos above as the little light on the end of a small “boom arm” that puts it high, near the middle of the backdrop. The stand that I use, is a black Manfrotto 420B Combi Boom Stand, which Syl Arena had recommended. You definitely need to use a sandbag as a counterweight to the boom arm, and I also add another one at the base, since the entire rig begins to get rather top-heavy.

I also put this hair light Speedlite into the “free agent” mode, and attach the ExpoImaging Rogue 3-in-1 Honeycomb Grid to it, using the 45 degree honeycomb. I used the same method described above to get the power level set the way I want. I used a small step stool so that I could change the power lever on the back of the Speedlite, without changing the position of the light (which can be very frustrating). I asked Barb to be my model, and had her sit on the posing stool while I took several photos to try and dial in the power setting of the hair light.

In the photo above, the hair light was still a little too “hot”. You can also see how the light on the backdrop is creating a big spot of light centered behind her, and that it is creating the vignette effect (darkening of the corners). This photo is actually out of sequence, (because I had my main and fill lights also firing, which I will describe shortly), but I use it here to support my story.

With the camera in Manual mode, and the background and hair lights in free agent mode, they were not going to change – ever (well, not until the batteries in the flashes were run down).

Now it was time to set-up the main and fill lights. These two lights are “inside” of the two black umbrellas that you see to either side of the posing stool in the two set-up shots above. Instead of shooting the flashes through a white umbrella, I like to bounce the light off of the inside of the umbrella. I use a somewhat unusual 45″ Bowens Silver and White umbrella.

If I put these lights into manual mode, I could put them in position then use my light meter and dial in the amount of flash output they would need to produce to get a correct exposure with my camera’s aperture set at f/5.6. There are two problems with this, though.

The first problem is that my Sekonic L-358 light meter doesn’t work well as a flash meter with my Canon 580EX IIs. When the master Speedlite sends out the “pre-flash” burst of light, it triggers the flash meter, instead of the “real flash” that occurs just milliseconds later.

OK, so I could simply dial in the exposure by having Barb sit on the posing stool a bit longer and adjusting the power of these two lights (which can be done from the back of the camera – unlike the free agent mode slaves) – but there is another problem. I tend to move my main and fill lights around a lot. It seems like I’m either trying to avoid getting their reflections in the model’s eye glasses, or I want to bring them further up or farther back, depending on the features that I want to accentuate (or diminish) on the model’s face.

For these reasons, I like to keep my Speedlites in E-TTL mode for these two lights. I always set the lighting on the main light to be twice as bright as the fill light (a 2:1 ratio). Sometimes to “fine tune” that lighting ratio, I’ll simply move the fill light closer or further away from the model (than the distance of the main light to the model).

OK, so now with all 5 Speedlites on and operational, I had Barb sit on the posing stool, and I made my final adjustments to the lights. I dialed down the power of the hair light to its final setting of 1/8 -0.7 power. (That’s a funky way that Canon uses to describe a power setting that is 2/3rds of the way from 1/8 power to 1/16 power.) Her blond hair no longer seemed to be “blown out” at this power level. I also added +2/3 stop of Flash Exposure Compensation, which only effected the main and fill lights, which were in E-TTL mode.

I photographed one lady late in the morning, and two more in the early afternoon. During the late afternoon, during a two hour downtime, I recharged the batteries in my Speedlites. After that, as I was turning everything back on and making sure that my settings were all “good to go” for the two groups that were coming in, I sat on the posing stool and talked Barb through how to capture this portrait of myself.

The main light was to the camera left (my right side), and was set to twice as bright as the fill light, which was to the camera right (my left side). You can see a hint of the hair light on the top of my head – it really lights up my gray hairs – but more importantly, that hair light also lights up the top of my shoulders, which separates my gray shirt from that whale gray backdrop. Lastly, you can also see that the light on the backdrop is fairly well centered behind me, and is producing a nice vignette in the upper corners of the portrait.

Now I realize that my efforts are very “amateurish” as compared to any experienced and talented professional, such as Kirk Tuck. But I’m sharing what I have already learned, as maybe it will help someone less experienced than I am. I realize that I didn’t mention anything about posing, and I suppose that it’s because admittedly, that is something that I still need to learn more about.

I have heard back from all 5 of the ladies that I took portraits of, and they all seemed to be very pleased with the photos that they have seen. I am choosing not to include the photos of my clients in my blog posts, but I will soon include them in the “Studio Portraits” section of my “Photo Gallery” that you can find under my large banner at the top of my blog home page.

CowParade Austin Calendar – September – Partying with Pi-COW-sso

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If you have my 2012 CowParade Austin calendar, you probably flipped over to September, saw a very colorful cow, and headed on over to my blog site to see what the story is with the cow named Partying with Pi-COW-sso, which was painted by Allison Gregory.

I count 14 artists that painted 2 cows, no artist painted 3 cows, and Allison Gregory was the only artist to paint 4 cows! I thought I’d use this opportunity to show all 4 of her beautiful cows in this one post. As you will soon see, Allison not only produced in quantity, she also excelled in quality!

You can visit Allison’s web site here, and you can see what she has to say about her herd of cows here.

Besides at the Preview Party in late July 2011, the first time that Dad and I found one of Allison’s cows on public display, it was on the very hot morning of August 20, 2011. It was a cow named Partying with Pi-COW-sso, and it was on display of the front lawn of the Bob Bullock Texas State History Museum.

Obviously this cow’s name involves a play on words involving the famous artist Pablo Picasso (1881 – 1973).

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This was the same bright, direct sunlight that I talked about in my previous post about the cow named Cowmaro.

I really liked the bright colors of this cow, but didn’t like how the harsh mid-day Texas sun was washing out those colors.

The next time we found one of Allison’s cows was 2 weeks later, on September 3, 2011. We found 2 of them that morning. The first one was named A MOO-sical MOO-saic.

This was one of only a handful of cows in the entire herd that were in the laying down position.

This colorful cow was located on the west side of Congress Avenue, just south of 6th Street, and at the front entrance of One American Center

Even at 9:35 AM, the Texas sun was wreaking havoc with my attempts to photograph the left side of this cow. When I went around to the cow’s right side, it was in the shadows, so I put on my external speedlite and took this photo.

I would have loved to had the opportunity that Kirk Tuck had to photograph a cow such as this using studio strobes and white seamless background. All of the specular highlights from the reflections on this cow really do an injustice to Allison’s work of art.

About 40 minutes later, we found Allison’s cow named “A Psy-COW-delic COW-ssword Puzzle”.

There is a discrepancy in how this cow’s name appears on the plaque underneath the cow, and how Allison spells it on her web site. The plaque uses the word “Crossword”, but her web spells it “COW-ssword”. I’ll assume that the plaque is incorrect.

This cow was located at 419 Colorado St. – at Emmis Radio (KBPA).

Wedging myself right up against the corner of the building, and looking at the cow from the other side, the bright background was incredibly bright. I dialed down the exposure compensation by 1 full stop, and took the next photo. I still had to use some Highlight Recovery (+20 in Lightroom 3) to somewhat tame the very bright background.

The next Saturday morning, September 10, 2011, about 10:30 AM, we found Allison’s cow named “MOO-sy In the Sky with Diamonds”. (I’m sure that’s a play on words from the title of a Beatles song from their psychedelic era.)

This cow was located at East 1st Street & San Jacinto Blvd. – at front entrance to The Four Seasons Hotel. There were a lot of cars, patrons, and bell hops between this cow and the front entrance, which made it difficult to get a photo of this cow without distracting cars or people behind it. I sort of got out in the drive between 2 cars and took this photo with a very bright background. I did use the Adjustment Brush to bring down the exposure by ¾ of a stop on the white car and pavement to the right of the cow.

After the car in front of me moved on, I was able to move a few feet to my right to get this photo with a somewhat more pleasing background. I still had to resort to using the Adjustment Brush to reduce the exposure of much of the bright pavement behind the cow by 4/5 of a stop.

After standing in the direct, hot Texas sun for about 4 minutes, I finally had a very brief moment where there were no people, and only the front of one car protruding into the background. This was my only shot from this side of the cow that was worth keeping.

It was a week later, on September 17, 2011 when we once again ran into Partying with Pi-COW-sso at the Bob Bullock Texas State History Museum.

This time the light was much more favorable. Even though it was 11:05 AM, it was overcast, and so the sunlight was very diffused. Here you can see the base of the large Texas Star behind the cow. This is the photo that I used for “Miss September” in my CowParade Austin 2012 calendar.

As you can see, Allison Gregory uses bright, bold colors. Her use of pseudo-psycheledic patterns and colors really seem to draw me in - about like a moth attracted to a porch light. I personally thought that all 4 of her cows were outstanding works of art!

Thank you for reading my blog. While I know that I am bouncing randomly from subject-to-subject in what my blog posts are about, I would really appreciate hearing from you to find out what you think works well for me, and what you think I should do less of. Just click in the “Leave a Reply” link immediately below (or on the cartoonish “word bubble” way back up at the top of the post – if there is a number in that “word bubble” it indicates how many readers have already left a comment).

CowParade Austin Calendar – July – Udderly Austin

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August 27th, 2011 was the 2nd hottest day, of the hottest year ever on record here in Austin. We were also smack-dab in the middle of one of the very worst droughts ever experienced in Central Texas.

Dad and I still had to hunt down a few dozen of the 72 CowParade Austin cows.  The weather reports told us that is was going to be very hot, so we got started early that Saturday morning, and we were photographing our first cow by 9:00 AM.

This is a short story about our encounter with our 10th cow we photographed that morning. “Udderly Austin” was painted by Patti Schermerhorn, and was sponsored by Schlotzsky’s. Patti has a very nice web page showing the art projects that she has done for charities. She even has a photo of Jay Leno auctioning off Udderly Austin. [here]

Even though we had moved quickly and photographed 9 cows in just over two hours, we were already starting to suffer, as the temperature was already well over 100 degrees Fahrenheit. I’m not going to go into great detail in creating a story about just how brutal it was, but I was genuinely concerned about Dad’s ability to deal with this kind of heat – because I was also suffering from the stress of being out on the streets and sidewalks that were too hot to touch.

Udderly Austin was on the northeast corner of the Schlotzsky’s at the corner of South Lamar Blvd. and Toomey Road. This is adjacent to Zachary Scott Theater, just south of the Colorado River in downtown Austin.

As you can see by the shadow underneath this very colorful cow, the sun was almost directly over us at 11:15 AM that morning.

The scene painted onto this side of the cow is the view of downtown Austin that you would have if you simply walked a block to the northeast of where we were standing. That’s the Texas State Capitol Building on the face of Udderly Austin.

It was hot. Very hot. The sun was blazing. The heat radiating off of the sidewalk was cooking my sneakers. This was going to be done quickly, or someone was going to be taken to the hospital. I was going to circle this cow once, take a few photos, and get the hell out of there.

This was the photo that I used in my CowParade Austin calendar.

As I finished photographing the left side of Udderly Austin, I noticed that Dad had taken shelter in the shade of a nearby tree – and he didn’t look good.

I went around to the other side of the cow. This is the view that those inside of the Schlotzsky’s restaurant had of the cow. To me, it looked like a completely different cow than I had seen from the other side. Also, this side was in the shade, and background was nothing but blinding glare from the sidewalk street, and concrete pad that the cow was standing on. I popped my flash unit on top of my Canon 5D Mark II, and took this one photo.

You can see the reflections of the flash, and I knew that under different circumstances that I could have done much better. I also knew that we quickly needed to seek shelter somewhere, so there wasn’t time to dilly-dally. I walked up next to the cow and took a photo of the plaque underneath her.

It was too dang hot to even think about walking across Lamar Blvd. and the half block to our car. I suggested that we go inside of Schlotzky’s and get a iced soft drink. Dad would rarely ever go for such a suggestion, but this time he quickly agreed.

We spent nearly 30 minutes inside the air conditioned restaurant, and had nearly finished our second iced soft drink, before our body temperature returned to something near normal.  We had come dangerously close to heat exhaustion.

After we walked back to the car, we turned on the radio, where we learned that it was already 108 degrees (at only 12:00 PM). Now we have lived in Austin for 40 years, and we have seen our share of hot weather, but rarely does it ever got THAT hot here. I’m sure that we could count the number of times that it has been 108 or hotter on one single hand….

We did stop and photograph 3 more cows before we returned home, but I was able to park the car within 50 feet (16 meters) of each one, and the car’s air conditioner did its best to attempt to blow cool air on us between each stop. By the time that we got home, the temperature had reached 110 degrees Fahrenheit.

The record highest temperature ever recorded in Austin, TX is 112 degees. It has reached that mark twice. The 1st time was Sept. 5, 2000. The 2nd time it did so was the day after we photographed Udderly Austin (July 28, 2011).

I associate this cow with the incredible summertime heat. That is why she appears as “Miss July” in my CowParade Austin 2012 calendar.

A Neighborhood Walk with the Olympus OM-D E-M5 Camera

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On May 1st, I went down to Precision Camera here in Austin and ordered one of the new Olympus OM-D E-M5 Micro Four-Thirds cameras (in silver and black) with the 12-50mm f/3.5-6.3 “kit” lens. I also ordered 3 prime lenses to round out the system. They were the Olympus 25mm f/1.4, the Panasonic Leica 25mm f/1.4, and the Olympus 45mm f/1.8 lenses.

Since the Micro Four-Thirds cameras have a 2x sensor magnification from that of a full-frame 35mm camera, the 12-50mm kit lens would be the equivalent of a 24-100mm lens on a full-frame 35mm camera. The 3 prime lenses would perform like 24m, 50mm, and 90mm equivalents.

On Wednesday May 23rd, everything came in, except for the Panasonic Leica 25mm f/1.4 lens. We were leaving for a week of vacation on Sunday May 27th, and I had pretty much come to grips that we would be taking the old Canon camera 5D Mk II on this week long trip to Ruidoso, New Mexico.

By getting a brand new camera “system” just days before a week-long vacation didn’t give me much time to learn how to use it – but I was going to “learn it as I went”. On Saturday morning, less than 24 hours before we were going to leave, I decided that I would take my new camera with me on my usual Neighborhood Walk. I’ve been walking this same route up to 4 times a week for over 11 years now, and I had never taken a camera with me before. The journey always starts right here at my front door.

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I was in my walking shoes and shorts, and I was planning on getting somewhat sweaty, so there was no way I was going to bring along a camera bag. No, I was going to have to travel light – really light.

So, before I left the house, I put the 45mm f/1.8 lens on the camera. I did not even have a lens hood – they are not in stock anywhere right now. I did have a B+W UV Haze filter on the lens. Even so, I knew that I was going to have to be careful about the direction that I pointed the lens, with respect to the angle to the sun, to prevent unwanted lens flare.

In the 3 short evenings that I had practiced with the camera in the house, I had left it in the default setting of “Auto ISO”. I had also read several reviewers on the internet say that the high ISO sensitivity of this camera was good at least all the way up to 6400, so I set that as the upper limit that the camera would use for Auto ISO.  However, when I looked at those practice photos on my computer monitor, I was pretty displeased. This new Olympus OM-D E-M5 was a huge improvement over my Canon PowerShot G-12, but it wasn’t perfect, either. I would say that the Olympus at ISO 6400 looked about as speckled as the G-12 does at ISO 1000.

For this walk, I set the ISO to 200 and left it there. If I needed more light, I was going to use the “business end” of the aperture settings that this 45mm f/1.8 lens was capable of – i.e. f/1.8 – and would also allow me to se how well it performed with narrow depth of field situations such as this:

And this:

Normally this 3 mile walk through my hilly neighborhood takes me anywhere between 47 and 49 minutes. Due to my stopping and taking photos of anything that looked interesting to me, on this day it took more than an additional 30 minutes more.

It was mainly overcast early in the walk, but the longer I was out, the more the sun would shine through the clouds. Photos of plants simply do not look good when taken in direct sunlight. As a result, I past by many interesting photo opportunities while the sun was out, and had to move quickly to capture what I could when the sun  was behind a cloud.

This next photo was taken while the sun was out, but it was on the shady side of the Magnolia tree. On my first shot of this blossom, it was pretty well underexposed. Camera meters get fooled by scenes that vary significantly from an average brightness. The white petals on this blossom were supposed to be white, and not gray, so I simply set the Exposure Compensation to +1.0 and took this photo.

Now I had to turn and walk up my longest (not my steepest) hill. Along the way, I noticed how well the yards were looking, as compared to this time last year, when Austin was in a terrible drought.

At the top of the hill, the sun went behind some heavy clouds, but I still had plenty of light to shoot with. The next shot with the two cacti was taken with a shutter speed of 1/2000 of a second. The aperture wasn’t wide open, but even at f/3.2 – and on a Micro Four-Thirds camera – it did a very nice job of blurring the cactus in the background.

So I was just walking along shooting when the clouds were helping me out.

There is a style of photography known as “Street Shooting” where the photographer is simply out on the street, taking photos of interesting architectural features of buildings, and usually more important than that, they are attempting to photograph people candidly, in their daily life – and with their natural facial expressions (not a posed, fake smile).

There are some really good photographers who do this and are also “bloggers on the internet”. Robin Wong and Kirk Tuck are two of the 3 blogs that I read on a regular basis.

I learn a lot from reading what they, and Libby over at Ohno Studios put in their blogs. I like them, because they aren’t trying to sell me something. (OK, Kirk occasionally reminds his readers about the books that he’s authored.)

Now between those three “internet photographers”, I’ve never once see any of them come close to mentioning the type of “Street Shooting” that I was really enjoying on this Saturday morning.  I suppose I still have a lot to learn….

At the base of my steepest 1-block-long hill, I stopped to photograph a few things in this yard before I tackled the hill.

The sun was out most of the time now, but when I saw some movement in my peripheral vision, something instinctively made me raise my camera and get off this one shot just as the doe jumped into a full sprint.

OK, about another block beyond the deer siting, is my second steepest hill, but the good news it is just a few hundred yards from our home.

I could easily tell when the sun was out by observing my own shadow on the sidewalk.

I’m not sure if that qualifies as Street Shooting… it was actually a driveway!

There were only a couple more photo opportunities at the top of the hill.

 

I’m almost home now. This the intersection that you turn into Bing Cherry Lane, which is the cul-de-sac that I live on. Our house is to the left of the house on the left in this photo.

Before I end my walk, I have to go to the end of the cul-de-sac and then come back to the house.

The Purple Sage looks great this year, and this was the only time I passed them when the sun wasn’t out.

I don’t think this one is a Purple Sage, but the sun wasn’t blasting it with hard light, so I took this photo.

Before I ended my walk, I wanted to make sure that I had at least one shot where the aperture was wide open at f/1.8 so that I could see how what kind of “bokeh” that this lens would produce on the Micro Four-Thirds sensor in this new Olympus OM-D E-M5.

I was pleased to see that I could achieve this sort of effect – one that I really enjoy producing with my full-frame Canon 5D Mk II.

Well, here’s where my journey ends.

I didn’t get the “exercise benefit” that I always get from this 3 mile walk. Even so, I was very excited when I was done – mainly because I was pretty confident that I could take this new camera on our vacation and still not wish that I had brought my “real camera” with me.

At ISO 200, the images look great to me. I had the camera set to capture both JPG and RAW simultaneously – mainly because Adobe had not officially released the updates to Lightroom 4.1 and Camera Raw 7.1 that I would need to process the RAW files with.

While on vacation in Ruidoso, New Mexico, Adobe did release those updates, and I spent the morning of May 31st going through these photos and putting this post together. In ALL of the photos in this post, the White Balance was left at “As Shot” (the camera was on Auto White Balance). The Exposure, Contrast, Highlights, Shadows, Whites, and Blacks sliders were all left at 0 (zero). ALL of the photo did have the Clarity slider set to +20, the Vibrance slider set to +8, and the Saturation slider set to 0 (zero).

Why the bump in Clarity and Vibrance? Because that’s just the way I post process all of my RAW files, except for portraits of women (where I leave the Clarity slider at 0 (zero) – and then use the Adjustment Brush to reduce the Clarity on just their facial skin to -50).

When I exported the JPG photos that you see here from Lightroom 4.1 they were reduced in size to 1000 pixels along the long edge, which is quite a bit less than the 4608 pixels that the camera captured. This inevitably results in a loss of resolution. Even so, I think you will agree with me that what you see here isn’t too shabby!

My next few posts will be to show some of the photos that I took this week – all of which were taken with my new Olympus OM-D E-M5 camera and the three lenses that I currently have.

CowParade Austin Calendar – June – Cowmaro

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June is a hot month in Austin. The Chevy Camaro has always been a hot car in my book. Therefore, it seemed fitting to put the cow named Cowmaro into my CowParade Austin 2012 Calendar in one of the hot summer months.

The artist who did Cowmaro is Dale Whistler, and you can visit his web site to see many examples of his art – many of which are virtually iconic to those of us who live here in Austin.  You can watch a short YouTube video of Dale, where he is interviewed about his past and some of his objects of art.

Dale was sponsored by the Central Texas Chevy Dealers to make Cowmaro.

Cowmaro was on display out on the front “lawn” at the Bob Bullock Texas State History Museum, with 3 other cows. I say “lawn”, because when we arrived at the Bob Bullock museum on August 20th, central Texas was still very much in the clutches of the hottest summer ever on record here in Austin. The drought was severe, and water rationing was being practiced by everyone in the Austin area.

We arrived a little before 11:30 AM, and it was already blazing hot. There wasn’t a cloud in the sky. This is just about the worst possible condition to photograph anything outdoors – especially an art object. The ONLY thing that I could do was to put a polarizer on my lens and pray. Even so, you can tell by the shadow at the top of this photo just how hard the direct sunlight was….

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The left side of Cowmaro had the image of the front of a Chevy Camaro painted on it, while the right side of Cowmaro had the view of the rear of the car on it. It was as if the car was somehow stuck inside of the cow!

Now I personally never owned a Chevy Camaro, but I always liked the look of one – they usually stop me in my tracks and I have no choice but to stare and wonder what fun it must be to drive one! Later on, (much later on – 1996), I owned a 1994 Chevy Corvette. It was the most trouble-free car that I have ever owned, and I’ve had lots of Toyotas and Hondas. I had that Corvette for nearly 3 years, and only put 11,000 miles on it…. although I would occassionally drive it hard, most if the time I babied it.

If you don’t remember the Chevy Camaro, here is one that I took a photo of in October 2010 at the Rolling Sculpture Car Show in Bee Cave, TX. I would guess that this is a 1968 Camaro SS.

You can see my favorite 100 cars at that show my going to my “Photo Gallery” button under the banner at the top of this page, and selecting the sub-menu for that car show.

OK, let’s get back to Cowmaro! I moved around to the opposite side, and of course, it was the shady side of the cow. To prevent my photograph from ending up as a silhouette, I put an external flash (Canon 580EX II) on top of my camera (Canon 5D Mark II), set it for TTL mode, with a flash compensation of -1 stop, and fired off these next two photos.

This is not particularly “artistic” photography, but not too shabby of a “journalistic” type of photography. But hey, that’s all we were trying to do anyway.

As an attempt to do something “artsy” while we were there, I composed this photo of Cowmaro on the burnt-up lawn, positioned over the cow named Mazy Moo that was done by Susi Alcantara.

(You  can see all 72 of the CowParade Austin cows by clicking on the  ”Photo Gallery” button and choosing the CowParade sub-menu.)

As it turned out, we needed to return to the Bob Bullock Museum on Sept.17, as they had added a new cow (Once in a Blue Moo by Lewis Signs), and we needed to photograph it. This time, the lighting was much better, as it was a very hazy, overcast day. Still no rain to help the drought situation, but the overcast sky helped keep the temperature down below 100 degrees, and it was MUCH better light to be photographing painted cows with!

Even though it was almost exactly the same time of day as our previous visit (this time it was 11:13 AM), I did not need to use a Fill Flash on the “shady side” of the cow.

And finally, here is the shot that I liked the best, and so this is the one that I ended up putting on my CowParade Austin 2012 Calendar, for the month of June.

The overcast sky even made the shiny metal plaque look better!