Jon Sienkiewicz Blog

Intuos4 Professional Pen Tablet Posted Tue Mar 9, 2010, 6:22 AM ET

Intuos4 Professional Pen Tablet

Spring is just around the corner, according to the calendar. But I’m looking out the window at a yard that’s still covered with snow right now. The east coast, where I live, got lambasted by more than 32 inches of snow in February. I’ll pursue my picture taking pleasures indoors for a spell, thank you very much. I’ve had quite enough of cold and ice for one winter.

So I bought a Wacom Intuos4 graphics tablet. I’ve always wanted a good graphics tablet. I have an inexpensive Wacom tablet that I bought on impulse at Fry’s a decade or so ago, and I’ve thoroughly enjoyed it. But the drawing surface is frustratingly small, and as a result I didn’t use it seriously.

The active area of my medium-size Intuos4 is 8.8 by 5.5 inches—a very comfortable size. Furthermore, the ambidextrous tablet is equipped with eight configurable function buttons and a unique scroll wheel that allows me to zoom and change tools with my left hand while drawing with my right.

I use the term “drawing” loosely, since I could not draw a recognizable object if my life’s fortune were at stake. I use the graphic pen they way I use a mouse, except with much greater accuracy. It’s hard to explain, but I have a deeper feeling of control when using this graphic tablet. And it’s really fun.

Installation was a snap on both my MacBook Pro and my young daughter’s iMac. Wacom generously provides a rich software bundle. Here is the description in their words:

“When you buy Intuos4, you'll gain access to the Intuos4 Bundled Software Download Program where, at no additional cost, you can choose to download several valuable creative applications. As part of this program, you can choose to download two different plug-ins that give you additional brush tools and photo effects in Adobe® Photoshop® or Photoshop® Elements.”

“Additionally, you can choose two applications from a selection of three valuable creative applications offered by leading software manufacturers: Adobe®, Autodesk®, and Corel®. Many of these applications also offer valuable upgrade programs which you can access through the Wacom Privileges Program.”

You can upgrade to CS4 for $299—a compelling offer to say the least. You also can select the sketching applications or some potent NIK plug-ins (Nik Color Efex Pro WE6). Or you can get an older version of Photoshop Elements for free. The software value goes a long way to offset the $369 retail price of the tablet.

Comes with a mouse, too. Guaranteed to provide great indoor fun while waiting for the first flowers of spring to appear. Unless, of course, you like ice, snow and cold weather.

—Jon Sienkiewicz

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SDHC Speed Class Posted Wed Feb 10, 2010, 5:07 PM ET

If you shoot video with a DSLR or camcorder that uses SD memory cards, be sure to use a card that is fast enough. Since the introduction of SDHC, cards are labeled with a Speed Class that indicates the sustained data transfer speed. Class 2 cards deliver a sustained read/write speed of 2MB per second. Class 6 operate at 6MB/sec. It’s an easy standard to understand.

The usual recommendation for video use is Class 4, but buy and use faster cards if you can. Transcend recently introduced a Class 10 card. Panasonic has Class 10 cards, too, and so does SanDisk.

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Pentax K-x Posted Sun Jan 17, 2010, 6:17 PM ET

Pentax K-x It could be that the good people at Pentax have gone batty. They put way too much stuff in the new Pentax K-x camera. It’s priced slightly above the most expensive compact cameras (in the sub-$600 range with a Pentax 18-55mm zoom lens) and is offered in three colors (red, white and blue) plus basic black.

It’s a darn good camera for folks who are stepping up to their first digital SLR. And an excellent choice for first-generation DLSR owners who are looking to move up from a seven-year-old Canon Rebel, for example.

Here’s a rundown on the features, starting with the two or three I did not expect to find on a budget-priced camera:

HDR image capture mode makes High Dynamic Range photography as easy as pie. The K-x shoots three shots and blends them into a single image. Obviously, you must use a tripod. There are two settings for HDR—Standard and Strong.

Widescreen HD 720p video at 24 FPS—even though I don’t shoot a lot of movies, this is a very cool feature.

Fast 4.7 frames-per-second capture speed and 1/6000 of a second top shutter speed.

Outstanding high ISO performance, even at 3200. The image at the top of this blog entry was shot at ISO 3200. When I examine the full resolution file, I am amazed and impressed.

Multiple Exposure. Yes, I know how to do it in Photoshop, thank you. It’s more fun doing it in the camera.

Live View makes it easy for folks to graduate from using a compact digital camera to an SLR because they can, if they wish, still compose on the monitor instead of at eyelevel.

RAW image capture directly as a DNG file or in Pentax’s own format (PEF). It also allows RAW+JPEG simultaneously.

Pretty doggone good RAW image processing software powered by SilkyPix.

Optional dynamic range extension to protect highlights and, separately, to preserve shadow detail.

Excellent manual White Balance control that can be fine tuned.

SR, Pentax’s term for image stabilization (SR = Shake Reduction).

12.4 megapixel CMOS sensor.

2.7 inch LCD monitor that’s home to an easy to use, easy to understand menu system that’s activated by pressing the Info button once.

11 Point Wide Angle Focus.

Powered by AA batteries (high performance cells allow you to capture up to 1900 shots) and accepts readily available rechargeable NiMH (nickel metal hydride) options from Duracell, Energizer and others.

The Pentax K-x provides so many entertaining and creative features that even the most experienced photographer can experiment for months. It offers Cross Processing (even though few people even know what that means) and very sophisticated Filter Modes. The Filters are wonderfully adjustable and can be applied after the image has been captured. They replicate Toy Camera, Retro, Water Color, Star Burst and Custom (which is a sort of do-it-yourself). There are 16 choices in all. Plus it has Auto Picture (Portrait, Macro, Landscape, etc.) and Scene Modes including Night Scene, Kids, Museum, Stage Lighting and six more.

On the negative side, I miss seeing the AF area light up, especially when there are 11 possible points. I also found the AF speed too slow for sports photography. These two minuses are negligible compared to all the good stuff it’s got.

—Jon Sienkiewicz

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IR Only Posted Fri Jan 1, 2010, 8:44 AM ET

After more than 40 years of actively taking photographs, I’m very pleased that I can say that I am still finding new things to do—including many exciting things I’ve never done before.

Keep in mind that I spent most of my life at the forefront of photography—including a long (29 years) hitch at Minolta Corporation where I was deeply involved in the creation of their digital camera products. I’ve always had access to the latest and greatest equipment, including many prototypes and preproduction models. So to say that I am still finding new things is incredible, in my opinion.

And that’s what makes photography such a wonderful hobby.

Last month I sent a brand new Nikon D5000 to a company in Carlstadt, NJ, and paid them to modify it so that it shoots IR (infrared) only. The company, LDP LLC, replaced the factory installed anti-alias filter (also known as a Low Pass filter) with one that cuts off at 720nM (nano meters). With this conversion, the Nikon shoots IR directly and does not need any sort of filter in front of the lens. On the downside, it shoots only IR, and the Nikon warranty is now void. (Since I have never had a defective Nikon, I’m not overly concerned about the warranty.)

LDP also sells new cameras that have already been converted (visit www.maxmax.com for more details). They’ve been in this game since 1997 and based on what I’ve seen, they do terrific work.

I had never shot digital IR before, let alone an IR-only digital camera, but I’d always deeply admired the work done by my friend Steve Rosenbaum (www.sironline.com) who is an accomplished photographer in every respect and an absolute maven where IR is concerned. I am approaching IR photography exactly the same way I have approached everything else in life—with a lot of enthusiasm and virtually no talent.

I’m told that spring and summer are better seasons for IR, since the lush green plants burn brilliant white and generate strong false colors so characteristic of Infrared. But I’ve managed to get the Nikon outside this winter already. The image at the top was shot at Ringwood Manor, in Ringwood, NJ.

—Jon Sienkiewicz

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Bargain of the Month Posted Sat Dec 19, 2009, 11:40 AM ET

Bargain of the Month

At first I thought the $39 price tag was a mistake.

I’d been looking for a pack similar to an old sample I still have from the days when Minolta distributed a high-class line bags made in the USA by Sundog. That was more than 15 years ago, I guess. The Sundog bag in question is a simple top-loading rectangular affair—deep enough to fit a camera wearing a long tele zoom—and has shallow, flapped pouches on the front, a wide shoulder strap and nothing else.

The Lowepro bag I found for less than 40 bucks is all that plus it contains three padded, repositionable dividers and a concealable belt that converts the whole affair into a contour-fitting waist pack. The belt even has compression straps so you can snug-up the load for maximum comfort. And the belt can be fully hidden out of sight when not in use. Frosting on the cake is a pair of straps on the bottom that lash to a monopod or small tripod.

It’s called the Lowepro Photo Runner 100. The inside measures 10(W)x4.5(D)x7.7(H) inches. Outside specs at 12.6(W)x6.3(D)x8.8(H), so imagine a tall loaf of Wonder Bread and you’ll be in the right ballpark. Mine is black but it also comes is a neutral gray Lowepro calls “Mica.”

The tag says it will accommodate “(One) DSLR with attached standard zoom lens, plus one additional lens or flash—when loaded vertically; or DSLR with attached zoom lens (up to 80-200mm f/2.8)—when loaded horizontally; accessories and small personal items.” That’s conservative, especially if you are into small, lightweight SLRs like I am.

Mine holds a Nikon D5000 with Tamron 17-50mm f2.8 VC lens attached, Nikon 35mm f1.8 and Tamron 60mm f2 Macro, plus a few filters, microfiber cloth and my Blackberry. I have a Manfrotto 676B monopod strapped to the bottom. I could snap a Lowepro lens case on either end (it uses their Sliplock system) to hold even more lenses, and this summer I’m sure I’ll hang a water bottle holder.

It’s convenient to use as a shoulder bag, but past experience reminds me that when I spend more than a couple hours on my feet shooting an event I prefer to balance the load around my waist. That’s where the hidden belt comes into play. It takes just seconds to convert the shoulder bag into a waist pack. And best of all, the rig just fits between the front seat of my car and the sloping bottom of the firewall, so I can keep the whole kit right there in front of the gear shifter within easy access.

—Jon Sienkiewicz

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Four Seasons Posted Sat Nov 14, 2009, 6:39 AM ET

Four Seasons

I saw seven white tail deer—one was a ten-point buck—in my neighborhood earlier this week and all were wearing their dark, thick winter coats. One of the babies was wearing an Eddie Bauer goose down vest. A couple had Polartec leg warmers. Looked like they were getting ready to hunker down for a long, cold winter.

There are so many acorns covering the backyard of my New Jersey home that the local squirrels have brought in a carloads of illegal immigrant squirrels to help them harvest the crop. You should see it—we have a multicultural menagerie of furry rodents jabbering in seven or eight different dialects of Squirrelish.

Even my pine trees (I have lots of trees) are dropping cones like a Cubs outfielder drops fly balls. They know that the next few months are going to be brutal, and they are making every effort to make sure that their DNA survives, even if they don’t.

Okay, well, I may be exaggerating just a wee bit. Not by very much, though. I’m not a believer of the Farmer’s Almanac but I do believe that Mother Nature somehow—in some imperceptible way—sends her animals and plants an Emergency Alert that we humans are too busy to receive.

So I’ve decided to activate Winter Defcon Nine and bring into play all of the contingency plans that I drafted over the last embarrassingly too many years. That’s right. I am going to ask Santa Claus for a new coat.

Not just any coat you understand. I’m going after the best: the Gitzo Four Seasons jacket. It’s so cool! Err –warm? It has pockets galore: two large exterior pockets, two smaller exterior pockets, one large exterior rear pocket, two interior cargo pockets, and a number of smaller inside pockets for pens, my borrowed iPod, a GPS unit, cell phone and much more. It’s practical, protective, and positively will allow you to comfortably carry more camera gear than you could ever possibly need.

The Gitzo Four Seasons jacket is fully waterproof and made of Teflon treated Cordura and Ecodry fabrics with fully sealed seams. Those of you who live in temperate climates may not fully understand the importance of keeping your body warm when the mercury dips below the freezing point. Having grown up in Chicago where I once experienced three consecutive weekends of -30 degree temperatures (I’m not making this up—I wish I were) I know the value of a warm coat.

So, Santa—is there is room on your sleigh? Do you think you could wrangle one of these really cool photographer’s jackets for me? I promise to be no worse than last year. And if I get a really cool candid shot of one of your reindeer (remember the shot of Blitzen on New Years?) I’ll send it to you before I upload it to Fotolia.

—Jon Sienkiewicz

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Arrows Posted Sat Nov 7, 2009, 4:56 PM ET

I collect arrows. No, not the kind with feather fletching that archers launch from bows. I collect images of arrows, mainly those painted on pavement. I guess I have hundreds of them, but sadly they’re scattered all over the place because I didn’t realize I was collecting them until a couple years ago.

The double arrow above was captured with an Olympus Pen E-P1.

You should collect something. Flags. Dogs. Parking meters. It’s helpful and productive for photographers to work within a theme or self-assignment.

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Test Your Image Stabilization System Posted Fri Oct 30, 2009, 7:14 PM ET

Test Your Image Stabilization System

Whether your image stabilization system is built into your camera or built into your lens, you will derive greater benefit if you understand exactly how well it performs under different circumstances and understand its limitations. One quick and easy way to test a compact digital camera (or DSLR) is to use progressively longer shutter speeds to capture a scene that contains both stationary and moving objects.

Some examples of scenes that contain both stationary and moving objects include a flowing river, a waterfall and any busy street where people and/or cars are passing by while the buildings and streetlights hold their ground. (If the buildings begin to move, stop shooting immediately and proceed home at once.)

Leave your tripod at home (this is the only time you’ll hear me suggest that). Depending on how dark it is, begin shooting at 1/30 or 1/25 of a second. Then try 1/15, 1/10, etc. until you begin the get the shakes. When you reach the combination that yields sharp stationary objects and wildly blurred moving objects, you’ve reached the maximum you can expect from your camera. Make note of the shutter speed and be confident that you can shoot handheld at that speed under most conditions.

The image above was shot with a Canon PowerShot S90 at f3.5 for 1/13 of a second. Although it’s harder to see in this greatly reduced image, the rocks are razor sharp while the millstream is a total smear.

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Photo Plus Expo Posted Fri Oct 2, 2009, 10:22 PM ET

Photo Plus Expo

How can anyone who is into photography resist this? The annual Photo Plus Expo is at Jacob Javits Center beginning Thursday, October 22nd and running through Saturday the 24th. If you live within driving distance of Manhattan you don't want to miss this.

The biggies like Canon, Nikon, Olympus, Sony, Tamron, Sigma, Bogen, Lexar, ThinkTank Photo, Leica, Tamrac, Delkin Devices, Tokina, Lowepro, Datacolor, Mpix, Lensbabies, Western Digital, Bibble Labs, NIK Software, Kubota Image Tools and Tiffen will be there, as will up-and-coming companies such as Camera Bits (Photo Mechanic) and many others. You'll see a lot of new stuff you've only read about.

Plus you can visit with key retailers including B&H, Adorama and KEH.

If you live in New Jersey you can come by boat—park in Weehawken and take the ferry. It's an easy 5 or 6 minute walk from the terminal, and the bonus is that you're within comfortable walking distance to B&H Photo or a very short and cheap cab ride to Adorama either before, after or during the show. For many, that alone is worth the price of admission.

Wow! Can I cover all of that in three days?

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Filters For Fall Foliage Posted Thu Sep 17, 2009, 8:47 PM ET

Filters for Fall Foliage

In the words of an old country song, "Summer's almost gone, and winter's comin' on." That means that now is the time to get ready for nature's annual organic fireworks. It was a wet summer for most of the country—the east coast in particular—so expect vibrant, explosive fall colors. A flamboyant, colorful fall is nature's way of apologizing for a drab, mediocre summer. At any rate, soon it will be time to get outside with your favorite cameras and capture all that autumn can offer.

If you're like me, every year you want to shoot the best fall foliage of your life. To do so you need a handful of optical glass filters. Yes—optical glass filters—the kind that screw into the front of your lens.

Enhance
Didymium Color enhancers, made of a clear metallic mixture called (surprisingly enough) didymium, are sometimes sold as “red-enhancers.” They have unique absorption characteristics that create a narrow-pass filter which blocks only certain wavelengths of light. Consequently, you’ll get bright foliage colors that are free of distortion. They accentuate the vibrant, warm fall colors without stepping on everything else.

Didymium filters are a secret weapon—few people know about them—so you can create incredible fall scenery while your friends are wondering what you know that they don't.

Polarize
If you've never used a polarizer you've missed out on one of photography's greatest assets. Buy one today and experiment with it all during the fall and winter. You'll be amazed by the difference a properly applied polarizer can make. Polarizers darken a blue sky and make the clouds pop without causing color shift or adding a colorcast of their own—and that makes them immensely popular for fall foliage imagery. Also, since polarizers reduce or eliminate surface glare (the light that is reflected from slick-surfaced objects like leaves) they allow true, richly saturated colors to be recorded. If you're trying to catch the reflection of fall leaves on a pond or lake, a polarizer is a must. You'll love how polarizers help tame snow glare, too.

Note: Many cameras, digital SLRs in particular, require Circular Polarizers. Check the owner’s manual for your camera before buying a polarizer.

Shift Colors
Warming (amber) and cooling (blue) filters get their names from the common notion that colors near the red/orange end of the spectrum are “warm” while colors at the blue/violet end are “cool.” Use a warming filter—an 85A for instance—to add a gentle glow like the rusty colors we see at sunset. To simulate the blue of twilight or early dawn, shoot through an 80A. And always remember that the easiest way to exaggerate the effect of a filter is to slightly underexpose the scene.

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Update Your Firmware Posted Mon Sep 7, 2009, 9:16 AM ET

Update your firmware.

Even if your digital camera is brand new there's a chance that the firmware inside has been revised. To find out, visit the manufacturer's website and search for your camera model in the Support or Downloads database. Then consult your camera owner's manual to determine how to check which firmware version your camera is currently running.

Manufacturers release updates for a variety of reasons. Sometimes it's to provide compatibility with new accessories; more often it's to fix bugs.

Do not interpret a firmware update as a sign of weakness, however, or think that it indicates that the company was careless when it released the product originally. On the contrary, it means that the manufacturer is listening to consumer feedback and addressing issues that arise.

Manufacturers always post clear and specific directions for upgrading. In most cases, it's a simple procedure. The steps involve downloading a ZIP file and copying the extracted BIN file to the root directory of a formatted memory card. The card is then inserted into the camera in the normal way and the camera is powered up. Sometimes it's necessary to start the camera in Playback mode; other times you have to press Menu or another button while powering on.

Precautions: make sure that the battery is fully charged (or use the AC adapter). If the firmware upgrade process is interrupted for any reason—as will happen if the batteries die—the camera could become a nice chrome and glass paperweight. If you're reluctant to chance it, you can always send the camera back to the manufacturer. Most charge for this service (unless the firmware upgrade was released to remedy a critical flaw) so call first to verify the cost and anticipated turnaround time.

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Canon PowerShot G11 Posted Sun Aug 23, 2009, 10:04 AM ET

Canon PowerShot G11

Although I haven't put one through its paces yet, the new Canon PowerShot G11 sounds like the proverbial dream come true for serious photographers. Combining the best features of the legendary Canon G-series compact cameras, the PowerShot G11 has an articulated LCD that swivels and tilts (and reverses to protect itself snugly against the camera body) plus advanced low noise performance in low light.

The lens is a 5X zoom that starts at 28mm (equiv.). Top shutter speed of 1/4000 second means it's capable of handling most fast action shots, too.

Here's the rundown on the key features. Look for it in October for around $499.

∙ RAW + JPEG File Capture
∙ Articulated 2.8" LCD
∙ High Performance Low Noise in Low Light
∙ ISO 80~3200
∙ 28mm Wideangle Lens (5X Zoom, 28mm-140mm equiv.)
∙ 10 Megapixel from 1/1.7-inch (0.59") CCD
∙ 1/4000 Second Shutter Speed
∙ Exposure Compensation -2 to +2 (in 1/3 Stop Increments)
∙ Flash Coverage to 23 ft. (at 28mm)
∙ HDMI Output
∙ Face AiAF
∙ 390 Shots per Charge
∙ Weighs Less than 13 ounces

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Pentax K-7 Roadshow Posted Fri Aug 7, 2009, 9:46 PM ET

Above images where shot by Kerrick James using a Pentax K-7. The top image is without HDR, the middle using Standard HDR and the bottom with HDR set at Strong.

If you live near one of these major cities, you can get a hands-on look at the new Pentax K-7 DSLR. Personally, I can hardly wait. The camera has one feature that I think everyone will love: an automatic three-shot HDR mode. The new K-7 combines information from three separate exposures that are captured in rapid succession with one press of the shutter. As you can see from Kerrick James's images above, the difference is dramatic.

Drop in and see the new Pentax K-7 at one of these venues.

I plan to.

San Jose August 8, 2:30-4pm
Hilton San Jose (Santa Clara Room)
300 Almaden Boulevard, San Jose, CA

San Francisco August 9, 10-11:30am
Marriott San Francisco Union Square
480 Sutter Street, San Francisco, CA

Seattle August 11, 11:30-1pm
Hilton Seattle Takuchinook Room
1301 6th Avenue & University Street, Seattle, WA

Portland August 12, 11:30-1pm
Hilton Portland & Executive Tower
921 SW Sixth Avenue, Portland, OR 97204

New York City August 14, 15
11:30am-1pm both days and 5:30pm-7pm both days
Hilton Times Square (Empire Room)
234 W 42nd Street, New York, NY

Miami August 16, 6-7:30pm
Marriott Southbeach
161 Ocean Blvd, Miami, FL

Orlando August 17, 5:30-7pm
Hyatt Regency Grand Cypress
One Grand Cypress Blvd, Orlando FL

Orlando August 18, 11:30am-1pm
Hyatt Regency Grand Cypress
One Grand Cypress Blvd, Orlando FL

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Free Daily Posted Sun Aug 2, 2009, 10:52 PM ET

Free Daily

The lock looks like it's still in pretty good shape.

I shot this in Manhattan with a Tamron 18-270 VC lens. The VC stands for Vibration Compensation, Tamron's name for "image stabilization." Because the lens reaches the equivalent of 405mm on my Nikon D90, the VC is a very important asset. It allows me to shoot handheld at shutter speeds that would otherwise deliver blurry pictures. I know, because I discovered my personal SBA, or "Shake Begins At" values and wrote about it all in the April issue of Shutterbug:

http://www.shutterbug.com/techniques/pro_techniques/0409sba/index.html

However, I must admit that another feature—the whopping 15X zoom range—is a very compelling reason to reach for this lens when I am out and about with my family.

The flexibility of a 15X zoom means more than merely bringing subjects closer. The greatest value of a long zoom comes in the form of significantly expanded composition possibilities. It's literally the antithesis of a fixed focal length lens. Zooming allows you to find the exact composition you're after. Because the zoom covers from about 28mm to 400mm (depending on the camera's lens multiplier) you're certain to find the magic angle-of-view before you run out of zoom.

The full name of this lens is Tamron AF18~270mm f3.5~6.3 Di II VC LD Aspherical (IF) Macro and it provides an awful lot of versatility in a compact package.

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Food Fight Posted Sun Jul 19, 2009, 10:03 PM ET

I enjoy shooting food. I don't do it well enough for Bon Appetit to come knocking on my door with an assignment, but I do get hungry when I edit.

Food—particularly the dishes served in restaurants—should be among the most attractive (and thereby photogenic) subjects you'll encounter during the course of the day. Chefs—big chain burger flippers included—go to great lengths to make their plates appeal to the eye. I can't recall any ugly food that tasted good, with the possible exception of sauerkraut. But I can certainly name a number of foods that looked terrific but tasted less so. Therefore, one would expect it to be easy to find lots of good looking edibles to photograph, and by extension, a snap to come home with a bag full of good food images.

Like photographing brides on their wedding day (who are similarly at their peak of eye appeal) there are many reasons why producing outstanding food pictures is challenging. At the root of this problem (and for that matter, at the root of most photographic problems) we can point an accusing finger at the poor lighting conditions. Restaurants tend to be dark. Some have strangely colored lights. Most discourage you from bringing in your own lighting setup. Tripods are likewise shunned.

There is one simple solution: eat only during daylight hours and always sit near a window. Alternatively you can buy a miner's headlamp that's daylight balanced (5500 degrees Kelvin) and wear it nonchalantly as you would a tiara. Fortunately, many camera makers are of like mind in that they provide a Food Mode or Cuisine Scene on their compact camera models. And they work quite well.

If your camera doesn't have such a setting, try the Close-up Mode with forced flash and, if possible, slightly juiced Saturation. Practice at home (on real food of course) using the crummiest lighting you have. If you don't have any crummy lighting, build a tent of old, yellowed newspapers and place it over the plate. Steady yourself by doing exactly what your mother taught you not to do—plant both of your elbows firmly on the table. Exhale and shoot.

As much as I enjoy digitizing my meals, I recommend against shooting your food under certain conditions. For example, you should leave the camera at home when you're on a blind date or job interview. Fried chicken joints are a no-no as well, unless you have a grease-proof point-and-shoot. And some of those hoity-toity places may think you’re trying to steal their recipes or China pattern or something; whatever it is they think you're up to, they may ask you to stop.

Sorry—got to run. Bon Appetit has come knocking on my door…

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Tamron 60mm f2 Macro - Double Life Posted Sun Jul 5, 2009, 7:48 PM ET

Here’s another ‘what is it?’ for you. Fish gills? Cooling fins on a car radiator? No—as you probably guessed—it’s a mushroom. Not the kind you can eat—it’s the kind that plagues your lawn when the sun shines after a rain.

I shot it with Tamron’s new 60mm f2 macro lens.

That’s not a typo. This lens is an f2.0, not an f2.8 like most macro lenses.

The key to good macro photography is a small aperture and the extended depth-of-field that accompanies it. So what’s the big deal about having a large aperture like f2?

First, an f2 lens delivers more light to the viewfinder. That makes it easier to focus (especially useful when you focus manually) and gives you an overall brighter viewfinder for comfortable composition.

It also allows you to invoke less depth-of-field, something you may (or may not) want to do while pursuing macro work, but a vital tool when using this lens in its double life as a 90mm equivalent portrait lens.

You see, besides close-up work, macro lenses in the 50mm or 60mm configuration are ideal for portraits when used on a digital SLR. The 1.5X (or Canon’s 1.6X) multiplier turns a 60mm macro into a 90mm portrait lens. Add in the fact that most macros are f2.8 and you have a fast, near-perfect portrait lens that will resolve every pore on your subject’s face.

But the Tamron 60mm is an f2.0, so you can do some even more amazing things like totally separating a portrait subject’s visage from the background. And you can do it in moody, subdued ambient light—the conditions often favored for environmental portraits.

Macro lenses are highly corrected for optical aberrations that occur when focused close, and aberrations are kept well under control even when the lens is focused all the way out to infinity. So they’re very well suited for general use.

The Tamron 60mm f2 macro (here’s the whole official name: SP AF 60mm F/2.0 Di II LD 1:1 Macro, model G005) just might be the fastest macro ever made for digital SLR cameras. Its f2 aperture is fully one stop faster than the f2.8 maximum aperture found on conventional macro lenses in the same class.

Furthermore, this lens delivers 1:1 (life size) reproduction without an adapter. That means that a subject that physically measures 5mm by 5mm in reality will be recorded on your camera’s CCD or CMOS sensor 5mm by 5mm in size. And shooting 1:1 is a very thrilling experience.

The image above was captured with a Tamron 60mm f2 macro exposed for 1 full second at f22, ISO 125, on a Canon EOS 40D in daylight.

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Underwater, All Weather - Pentax Optio W80 Posted Thu Jun 25, 2009, 6:53 AM ET

Pentax announced a new underwater, all weather camera this week—the Optio W80—and I’m glad to hear it. It’s been raining so much in New York this spring that the Weather Channel has started showing reruns—or so it seems. I am really getting tired of taking pictures of raindrops on roses. It hasn’t been sunny in so long that I fear our Earth has lost her status as a planet.

Foul weather sure puts a damper on picture taking with an ordinary camera. Those of us who live in areas where winters provide snow and cold temperatures have become accustomed to moving our hobby indoors when the climate demands it. We have to.

Or do we? I’ve been shooting with a Pentax Optio W60 (the older model) for a few months now and there are several things I like about it. It has a 5X zoom (longest in its class) that begins at true 28mm wideangle and extends to 140mm telephoto. And it’s a non-extending zoom, so the W60 maintains 1-inch thickness instead of doing a Pinocchio. Pentax pioneered the category of waterproof cameras, so it comes as no surprise that the Optio W60 is useable to depths of 13 feet.

What matters most of all—the thing that I like best—it takes terrific pictures.

The latest model is the Optio W80, introduced on June 24. It’s 12-megapixel and dives deeper than its predecessor, all the way to 5 meters (about 16 feet). It’s also shock resistant. Since “Impact Damage” is the #2 killer of cameras (water damage is #1) it’s great to know that the Optio W80 will survive a fall from a height of three feet.

And the Optio W80 has feature that all New Yorkers will love: it thumbs its nose at cold weather. The new model can be used in below-freezing temperatures of 14 degrees Fahrenheit (-10 degrees Celsius). So in addition to snorkeling, canoeing and backyard pool splashing you can add frigid winter activities such as skiing and snowmobiling to its many talents.

The image above was shot by Lars Granoe with my Pentax Optio W60.

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TARP Posted Thu Jun 11, 2009, 6:44 AM ET

The House of Representatives recently passed the so-called “clunker rebate” bill that provides robust monetary incentives to folks who upgrade from a gas guzzler to a more energy efficient vehicle. There are conditions of course (it’s a government program after all) and as of this writing it hasn’t passed through the Senate, but if it’s signed into law, some lucky car buyers may get as much as $4500 back. I think it’s a great idea, despite the fact that it rewards those who sinned against the environment in the past by driving socially irresponsible vehicles.

And I see no reason why it shouldn’t be expanded to include the photographic industry.

Owners of digital SLR cameras in the 6-megapixel category should get a $1000 rebate if they migrate up to a more efficient 10- or 12-megapixel camera, for example. That would stimulate sales. The Senate would probably want to prorate it at $200 per megapixel, but I’m sure an equitable formula could be derived.

Or maybe the people who bought film cameras after 2003 under the mistaken notion that silver halide was still a viable energy—I mean imaging—alternative could turn in their old celluloid burners and get a cute little modern compact camera that gets 300 shots on one SD card.

It would be so easy to advertise and promote. TARP would suddenly stand for Technology At Reduced Prices.

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Five Things That Are Bad For Cameras Posted Mon Jun 1, 2009, 6:56 AM ET

Summer's almost here, and we made our annual May jaunt to the Jersey Shore. The full name of the park we call Sandy Hook is "Gateway National Recreation Area." As far as we're concerned, it has everything anyone could ask for: several of the white sand beaches New Jersey is famous for, deserted military bunkers, miles of bike trails and a light house. Plus it's nearby and never seems overcrowded.

You probably have your own Sandy Hook somewhere close to you. And like ours, it almost certainly is haunted by the same five camera killers.

I'm talking about five of the seemingly benign accoutrements of summer that make even the most hardened camera service managers cringe. They are, in no particular order, Water, Sand, Sunblock, Insect Repellent, and Direct Sun.

Water—"liquid damage" to the service manager—is a major problem, particularly with compact cameras and entry level DSLRs that lack moisture resistant seals. You don’t have to submerse a camera (or lens) to ruin it. A light mist or blast of spray will often do the trick. When water reaches the microscopically close solder traces on the printed circuit boards inside your camera it can wreak havoc. And water often leaves a contaminating residue when it evaporates. Get into the habit of carrying a large plastic garbage bag along with your cameras gear. You never know then a summer shower will appear.

Sand has an uncanny knack for winding up where it doesn't belong and working its way into crevices that resist other forms of dirt. I think it's because sand granules are hard and more-or-less regularly shaped. Think of it this way: a bag full of diamonds will tumble through a tiny opening more readily than a bag full of woodchips. And do more damage, too.

Sunblock is great for protecting skin from UV—or so we're told—but it can be unkind to cameras, particularly lens coatings. Of course, it's never good to leave a fingerprint on a lens, but it's especially bad when that finger has been coated with SPF 30. Don't forget that if you're like most of us, your nose comes in contact with the LCD on your SLR monitor when you focus, so make sure that you never apply zinc oxide or even common sun screen to your nose.

Insect Repellent can contain chemicals that damage smooth, shiny, plastic surfaces—cameras, cell phones and PDAs included. The spray-on variety seems innocuous enough but it lingers on your skin and can easily transfer to your photo gear even hours later. I can't recommend an alternative but I can suggest that you keep the stuff off of your hands as much as humanly possible.

Direct Sun is dangerous on many levels. And it can really make a black camera get hot. Makes you wonder why SLR cameras are not silver-colored anymore…anyway, keep your camera cool—it's easier than it sounds. Simply avoid direct sunlight and hot spots like glove boxes. I have a cheap ($5) collapsible cooler—the size designed to hold a six-pack of soda. It just fits my DSLR with kit lens attached and sits on the floor in the back seat of my car. It protects my camera from bumps and scrapes as well as heat.

Fisheye photo made possible by Sigma. Canon 5D Mk II with Sigma 8mm full-frame 180-degree fisheye.

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What Do You See? Posted Sun May 24, 2009, 5:15 PM ET

What do you see?

I see the shadow of a wolf that’s about to pounce on a rabbit.

To some people it may look like a scrap of poster attached to a utility pole that’s riddled with staples. But if you look closely you can see the line of the wolf’s jaw, his alert ears and his black, wet nose.

Photography creates the ultimate Rorschach test. While some people try to see everything, photographers can see small details. And in the process, they sometimes find things that aren’t even there until they are isolated from the whole.

Technical information: Nikon D5000 with 18-55mm Nikkor (zoomed to 55mm) f7.1 at 1/200 second at ISO 200.

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