Italian Street Painting Festival – Day Two

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So, I went back to the Italian Street Painting Festival in San Rafael this afternoon to see how thing were coming along with my friend, Sindy Smart, and her artwork. Sindy is part of a group headed up by Tia Starr Warner that has been making beautiful art with chalk on the streets of San Rafael for a number of years. I think that it has come along quite nicely, as you can see. I am going to try and make it tomorrow evening to see the completed project. However, I am going to be photographing the NASCAR Save Mart 350 at Sonoma Raceway starting at noon. I’m hoping to get back to the Festival by 6PM or so and get some shots of the completed artwork.Italian Street Painting FestivalAs you can see from the shot below, they have done quite a bit of work on it since yesterday afternoon.Italian Street Painting FestivalHere are a few more shots of the artwork from this afternoon.Italian Street Painting Festival Italian Street Painting Festival Italian Street Painting FestivalItalian Street Painting FestivalItalian Street Painting FestivalItalian Street Painting FestivalHopefully, I be able to get some more shots tomorrow evening when I get home from the race. Of course, I’ll have shots for you from the race as well.

Italian Street Painting Festival

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Italian Street Painting FestivalJust a reminder that the Italian Street Painting Festival is happening this weekend in San Rafael. My friend and artist, Sindy Smart, is part of a group that has been doing this for a number of years and I’m always amazing at the wonderful art that is created on the street with chalk. This years theme is the Carnevale di Venezia and much of the artwork features Venetian masks. Italian Street Painting Festival Italian Street Painting FestivalFor more on the Italian Street Painting Festival, click on the link below.

http://www.italianstreetpaintingmarin.org/

Canon EF 70-200 f/4.0L USM

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Whether you’re a seasoned pro, a soccer mom, or are brand new to photography, there is one thing that we all have in common…the desire to take the best photographs that we can take. There are usually three ingredients involved in taking quality images. The first is your skill level, which usually increases with experience. The second is your equipment and knowing how to get the most out of it. The third ingredient, which is sometimes not even in the recipe, is luck. This most often involves being in the right place at the right time and having a camera with you so you can get that amazing shot. This post will be taking a look at ingredient number two, which in this case is the Canon EF 70-200 f/4.0L USM telephoto-zoom lens. I’m going to tell you up front that if you are looking for a pixel-peeping, spec quoting ’til your mind is numb type of review, you won’t find it here. There are plenty of reviews on the internet that gives you all of that type of information that you will ever need. I prefer to focus on the results of shooting with this lens. In other words, how does the photograph look?  How is the color? How is the contrast? How is the clarity? Well, lets take a look.

Camera Porn - Canon EOS-1N

If you are like a lot of people new to the world of DSLR’s, you’re probably shooting with a kit lens. If you’re shooting a Canon (no pun intended…or was it), that usually means the EF-S 18-55mm f/3.5-5.6 IS II. It’s a great little lens as far as kit lenses go, but even on a crop sensor camera with the 1.6x multiplication factor, it really doesn’t have much reach to it. Which means that it’s good for some scenic shots, some portraiture, and shots of the kids around the house. But, let say that you’re a soccer mom (or dad) and are looking to get the best shots that you can of your young ones on the field. You’re going to need a lot longer lens than what you have with the kit lens. Canon offers eleven different telephoto-zoom lenses with lengths starting between 55mm and 75mm, with the two starting at 55mm being EF-S lenses at 55mm-250mm length. At the low end of the price range is the EF 75-300 f/4-5.6 III USM for $179. The high end of the price range is the $2,099 EF 70-200mm f/2.8L IS II USM.

The subject of the post, the EF 70-200mm f/4.0L USM sits at about one-third up the price range at $649USD. It is one of four 70-200mm lenses that Canon offers in it’s series of ‘L’ lenses (‘L’ stands for Luxury) and is the least expensive of the four. The other three are a f/4.0 version with image stabilization, then two versions of the 70-200 f/2.8, one with image stabilization and one without.Canon EF 70-200mm f/4.0L USM

What do you get for your $649? You get a lot of photographic bang for your buck. The lens features sixteen elements in thirteen groups, with one artificial fluorite element and two ultra-low dispersion elements. Personally, I have shot in all different types of lighting conditions and have never had an issue with chromatic aberrations when using this lens.  It also has both internal zooming and focusing and features a non-rotating front element, which aids in the use of polarizing filters. It has an ultra-sonic motor for fast and quiet autofocus with manual focus override for those times that you need it. The closest focusing distance is 1.2 meters (3.9 feet) and it has two focusing modes, one from 3.9 feet to infinity, and the other from 3 meters (9.8 feet) to infinity. If you are shooting with subjects farther away, set it to 9.8 feet to infinity to get yourself quicker focusing of your kids running up and down the soccer field. It has eight diaphragm blades, which gives you wonderful bokeh when shooting wide open, or near wide open. The one thing that you don’t get for your $649, is a tripod collar. The lens is incredibly light for a tele-zoom with a metal barrel and I quite often shoot for hours at an airshow hand holding the camera and lens. I frequently use a collar and monopod while shooting games when I’m at field level. If you want the Canon name on your tripod collar, be prepared to shell out $144. If you want to save yourself almost $100, try the Vello tripod collar at a mere $49. The lens uses 67mm filters and you’ll want to make sure that you get yourself a high quality UV filter and put it on before taking this gem out for a spin. While you can get UV filters for as low as $12, I’d stay away from the cheap ones. If you are stretching your budget to the breaking point just by getting the lens, then get what you can and upgrade your filter as soon as you can afford to. The image quality you get from having a professional quality lens will be degraded by putting an inferior filter in front of it. That said, protecting your investment and keeping the front element safe from potential damage is a completely valid reason to get a cheap filter if you cannot afford a higher priced one. Also, while you do not get a tripod collar or UV filter with the lens, you do get a very nice case for it and a hood to help reduce sun flare.

I’ve been shooting with my copy of the incredible lens for the past five years and have used it at everything from weddings to airshows to the America’s Cup races in San Francisco Bay. It’s been used at NASCAR races and MLB games, as well as college sporting events and my nephew’s weekend soccer games. Prior to getting the lens, I shot a couple of weddings with the Canon EF 70-200mm f/2.8L IS USM and found it to be somewhat softer than I’d like when shooting wide open. I find the f/4.0L to be a sharper lens when wide open. It used to be the lens that was attached to my primary camera body in my camera bag, as I use it that often. Now I’ve changed my lens line-up a bit, it lives in my camera bag with the Canon Extender 1.4x attached.IMG_5823

I’ve shot this lens using both film and digital cameras. My 35mm monster is the EOS 1N-HS that is capable of shooting six frames-per-second, and is the camera that you see in the photo towards the top of this post. I’ve used this lens with consumer level cameras, prosumer level cameras, and professional full-frame cameras, and it never disappoints me. The color, contrast, and clarity are second to none and I’m sure will please the most discriminating of photographers that give it a try.

I’ve done a lot of volunteer work in my life and most of it as of late involves dogs. Whether it was when I was with Companions for Heroes, or photographing events for Canine Companions for Independence , or taking photos for a couple of different rescue organizations that I’ve worked with in the past. Below are several of my favorite puppy pics taken with the Canon EF 70-200mm f/4.0L USM.

Baby No.7

Baby No.7 – Camera: Canon EOS 40D Lens: Canon EF 70-200mm f/4.0L @188mm Exposure: 1/500 Second @ f/4.5 ISO250 Lighting: Camera mounted Canon 430EX for fill

Celine Lookin' Cute

Celine Lookin’ Cute – Camera: Canon EOS 40D Lens: Canon EF 70-200mm f/4.0L @122mm Exposure: 1/400 Second @ f/4.0 ISO100 Lighting: Camera mounted Canon 430EX for fill

Tipper No.2

Tipper No.2 – Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon EF 70-200mm f/4.0L USM @200mm Exposure: 1/160 Second @ f/4.0 ISO400 Lighting: Camera mounted Canon 430EX for fill

Being a retired Air Force pilot, I have an affinity for airshows and photographing those daring young men (and women) in their flying machines.

Blue Angels Diamond Formation

Blue Angels Diamond Formation – Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon 70-200mm f/4.0L with 1.4X Extender II @117mm Exposure: 1/500 Second @ f/7.1 ISO100

F-15E Strike Eagle

F-15E Strike Eagle – An F-15E Strike Eagle from Seymour Johnson AFB in a high-g turn directly overhead my vantage point in San Francisco Bay aboard the USCGC Tern. This was during the Friday afternoon rehearsal for Fleet Week 2011. Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon 70-200mm f/4.0L with 1.4X Extender III @98mm Exposure: 1/800 Second @ f/5.6 ISO100

US Air Force F-22 Raptor

US Air Force F-22 Raptor – Here we see the F-22 Raptor from the USAF F-22 Demonstration Team in a high-g turn over San Francisco Bay during the Saturday afternoon airshow for Fleet Week San Francisco 2012. Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon EF 70-200m f/4.0L @200mm Exposure: 1/1000 sec @ f/5.0 ISO 100

One of the two musical groups performing at Woofstock in 2013 at the Marin Humane Society was Rudy Colombini and The Unauthorized Rolling Stones. One of the top cover bands around, they have opened for the likes of Train, Sheryl Crow, The Beach Boys, and many others. Below are a few of the shots that I got of Rudy and the group with my Canon EF 70-200mm f/4.0L USM.

To find out more about Rudy Colombini and The Unauthorized Rolling Stones, click on the link below.

Rudy Colombini and The Unauthorized Rolling Stones

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The Unauthorized Rolling Stones – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @246mm Exposure: 1/320 sec @ f/5.6 ISO400 EV -1/3

The Unauthorized Rolling Stones

The Unauthorized Rolling Stones – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/1250 sec @ f/5.6 ISO400 EV -2/3 Lighting: Camera mounted Canon 430EX for fill

The Unauthorized Rolling Stones

The Unauthorized Rolling Stones – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/160 sec @ f/5.6 ISO200 EV -2/3

The Unauthorized Rolling Stones

The Unauthorized Rolling Stones – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/250 sec @ f/5.6 ISO320 EV -2/3

For the soccer moms (and dads) out there that would like to know how it does shooting sports…take a look and see what you think.

Mariners Invitational

Mariners Invitational – Camera: Canon EOS 40D Lens: Canon EF 70-200mm f/4.0L @78mm Exposure: 1/1000 Second @ f/4.5 ISO100

Kyle Busch

Kyle Busch – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/400 sec @ f/5.6 ISO100

Foxy's Fall Century No1

Foxy’s Fall Century No.1 – Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon 70-200mm f/4.0L @200mm Exposure: 1/250 Second @ f/5.6 ISO100

Team New Zealand Warming Up

Team New Zealand Warming Up – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/1000 sec @ f/5.6 ISO160 EV -2/3

College of Marin Woman's Soccer

College of Marin Woman’s Soccer – Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon EF 70-200mm f/4.0L USM @70mm Exposure: 1/500 Second @ f/5.0 ISO400

College of Marin Triptych No1

College of Marin Triptych No.1 – Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon EF 70-200mm f/4.0L USM @172mm Exposure: 1/1000 Second @ f/5.0 ISO100

One of the things that I like to do is take pictures of people taking pictures…I know, call me crazy. Whether it’s at a wedding or a major event like the America’s Cup races in San Francisco Bay, as was the case in this shot, I’m always looking to get a shot of someone getting the shot.

Nikon Shooter

Nikon Shooter – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/320 sec @ f/7.1 ISO100 EV -2/3

If artistic shots are more your style, this lens works well in that domain.

Dragons on the Water No.2

Dragons on the Water No.2 – Camera: Canon EOS 40D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @98mm Exposure: 1/000 sec @ f/5.6 ISO100 EV -1/3

Colors of Fall No.1

Colors of Fall No.1 – Camera: Canon EOS Digital Rebel XT (350D) Lens: Canon EF 70-200mm f/4.0L USM @200mm Exposure: 1/250 Second @ f/4.0 ISO200

Oracle Team USA and the North Tower No.2

Oracle Team USA and the North Tower No.2 – Camera: Canon EOS 6D Lens: Canon EF 70-200mm f/4L USM w/Canon 1.4x @280mm Exposure: 1/1000 sec @ f/6.3 ISO100 EV -1/3

So, as you can see the color, contrast, and clarity of the Canon EF 70-200mm f/4.0L all combine to create an unbeatable image quality. It has incredible optics that are super sharp and can give you that buttery smooth bokeh that we all love. Add the fact that this relatively lightweight wonder currently retails for only $649, and you can see why I say it is a must for most every Canon shooters camera bag.

The Hurley Wedding

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Several weeks ago I had the pleasure of shooting the wedding for the now Mr and Mrs Hurley at the Seapointe Resort in Southern California. I’ve always enjoyed shooting outdoor weddings and this one was no exception. Below are a handful of my favorite shots and I hope that you enjoy them as well. Hurley WeddingThe Bride's ShoesWedding Dress DetailsHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingWith This RingHurley WeddingThe Hurley WeddingHurley WeddingHurley WeddingThe Bride and Groom at SunsetHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingHurley WeddingThanks for taking a look and be sure to hit to ‘Follow” button so that you can keep up to date with new posts!

Another One Bites the Dust…

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…with apologies to the late Freddie Mercury and Queen.

Kodak announced last week that it was stopping production of yet another film stock. This time it is BW400CN, a black and white chromogenic film. It is designed to be developed in C-41 color chemistry and prints are made on traditional color negative paper. With fewer and fewer people shooting film these days, in conjunction with Kodak’s mismanagement into bankruptcy, I feel that we may not be that far away from Kodak leaving the film industry altogether. Only recently was it announced that they all continue with motion picture film after receiving pressure from Hollywood to do so. 

Below is the notice from Kodak:

— DISCONTINUATION NOTICE —
August 14, 2014

Due to a steady decline in sales and customer usage, Kodak Alaris is discontinuing KODAK PROFESSIONAL BW400CN Film. Product should continue to be available in the market for up to six months, depending on demand.

We empathize with the Pro photographers and consumers who use and love this film, but given the significant minimum order quantity necessary to coat more product combined with the very small customer demand, it is a decision we have to make.

Here is a link to the Kodak page for BW400CN: http://www.kodak.com/global/en/professional/products/films/bw400cn/main2.jhtml

Once the supply is gone, those that prefer shooting with chromogenic film will be happy to know that Ilford has XP-2 still in production (at least for now). A look at B&H shows it is available in 35mm and 120, as well as 100′ bulk rolls and a B&H kit of fifty rolls of thirty-six exposure 35mm film. 

I would have to say that my favorite film of all time was and still is Kodak Ektachrome Vivid Saturation (E100VS), follow closely by Ektachrome Plus Professional (EPP). When it’s demise was announced, I bought out the supply of Ektachrome at Calumet Photo in San Francisco on three different occasions (before Calumet went out of business) getting 35mm, 120, and 4×5. I still have a good supply in the fridge and only take it out for very special shoots. It’s going to be a very sad day when there are no more yellow and blue boxes waiting for me in their chilled resting place.

Below is one of my favorite shots I’ve taken with E100VS:

San Francisco Palace of Fine Arts

San Francisco Palace of Fine Arts

Camera: Yashica Mat-124G
Lens: Yashinon 80mm f/3.5
Exposure: 30 Sec @ f/22
Film: Kodak E100VS
Tripod: Benro A-169 w/B-0 Ballhead
Scanner: Epson V750-M Pro

Woofstock 2013 and The Unauthorized Rolling Stones

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The 5th annual Marin Humane Society fundraiser Woofstock 2013 was a huge success with the largest turnout yet. Not only did a record number of people enjoy the wonderful entertainment and food, thirty-seven animals found forever homes during the adoption fee waived event. A kids area, including a Blue bounce house, kept the little ones entertained, while music from The Sorentinos and Rudy Colombini and The Unauthorized Rolling Stones kept everyone entertained. While a previous commitment earlier in the day kept me from seeing The Sorentinos, I was there in plenty of time to catch Rudy and the rest of the band in one of the best tributes to Mick Jagger and the real Rolling Stones.

Outdoor photography can pose some minor trouble with regards to shadows and lighting. These troubles can easily be overcome by the use of a fill flash. In a fluid shooting situation, I usually use a camera mounted Speedlite with a setting of EV -1. This will put out the proper amount of light to fill in the shadows and bring out the details with a natural look to the image. However, this lighting on the particular afternoon proved to be a bit more complex than most typical outdoor shooting. The stage had a couple of large trees beside it that resulted in part of the stage being in total shadows, part of the stage still being in the sun, and part of the stage covered with sunlight filtering through the trees. Throw in the fact that to get shots from certain angles I was more than 100 feet from the state, I was constantly checking my settings to get the best shot possible. At times I even skipped the flash and went solely with available lighting.

Being a significant distance from the subject will dramatically reduce the effectiveness of the flash, to where at times I would push the flash to EV +2. Upping the ISO setting will also allow the light from the flash to be more effective. Just keep in mind that if you are shooing in Aperture Priority (as I was), this can push the shutter speed above the normal flash sync speed. So, be certain to set your camera to ‘High Speed Sync’ to keep from having troubles. Shooting in ‘Aperture Priority’ keeps the aperture where I set it, usually wide open or within a stop or so of being wide open. This allows me to separate the subject from the foreground and background by throwing those two out of focus while keeping the subject in focus.

If you have never used a flash outdoors, you should give it a try. Grab your camera, a speedlite, and your favorite model to shoot and head out. I would recommend starting with the following settings: Camera metering to ETTL, use high speed sync (if needed), , flash set to EV -1, aperture priority with lens f/stop set to widest possible (smallest number). Try shooting with sun at different angles to the subject, front lit, back lit, and side lit to see what the different results look light. Mix it up a bit by shooting both in the midday sun and also at either in the morning or evening with the sun close to the horizon. And, don’t forget to shoot with the subject in the shade with the background in the sunlight.

I hope you enjoy my shots from Woofstock 2013. Check with your local Humane Society office to see when their next event will be and don’t forget to spay and neuter your pets!

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For more information about the Marin Humane Society and Woofstock 2013, please click on the link below.

http://www.marinhumanesociety.org/site/c.aiIOI3NLKgKYF/b.7882565/k.F99E/Woofstock.htm

For more information about Rudy Colombini and The Unauthorized Rolling Stones, please click on the following link.

http://theunauthorizedrollingstones.us/

Thanks for stopping by and taking a look. Don’t forget to hit the ‘Follow’ button to be notified of future blog posts.

The 34th America’s Cup in San Francisco

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I’m not going to go into great detail about the drama that was the America’s Cup in San Francisco last week, as it has been covered quite well in the media. What I am going to do is share with you some of the shots that I got during the last eight days of racing between Emirates Team New Zealand and defending champion, Oracle Team USA. I’ve also included a few of the images that I took during the America’s Cup World Series races on San Francisco Bay in 2012. The first four shots are of the smaller AC45 boats used during the ACWS races and the rest is the AC72 catamarans of ETNZ and OTUSA as they battle on San Francisco Bay for the Auld Mug.

I used both a Canon 40D and a Canon 6D to take the shots, along with a Canon EF 70-200mm f/4.0L lens – most of the time coupled with a Canon 1.4x Extender.

ImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageImageI’ve already seen in the local news that San Francisco Mayor Ed Lee has said that he is looking forward to the next America’s Cup and is obviously hoping that Larry Ellison will again pick San Francisco as the venue for the 35th America’s Cup. I hope he does as well, as I’ll be there with camera in hand to get more fabulous shots to share with you.

Up Next – Shots from America’s Cup in San Francisco Bay

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Today will be day six out of the past seven that I’ve been along the waterfront in San Francisco photographing the America’s Cup racing. When I first went in last Tuesday, I was fulling expecting Team New Zealand to clinch that day. However, Mother Nature has had different plans and yesterday was the only day that two races were actually completed. I’ll be back there this afternoon, as Team New Zealand needs just one win to complete their victory over Team USA.

I’ll be posting the best shots that I get once one of the two teams capture the Cup.

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