Ann-alog, a Pixel Remix, where Ann Torrence blogs about photographing for a book on U.S. Highway 89, the greatest road trip route in America. Photography tips, locations, trip reports, and real life.

New Pope John Paul II candles in stock-first shots with Nikon 16-35 VR (ISO 1600, 16mm, f 5.0, 1/200th second

I had to go to the grocery store right after I picked up my new Nikon 16-35 lens from Pictureline. It's what has to be done--no time to find pristine wilderness this juicy piece of optical goodness deserves. Full res uploaded to Flickr so you can inspect the pixels. Hand-held, in the grocery store, trying not to make a spectacle of myself (failed).

I never noticed before the crappy light in my neighborhood grocery store. The scented Virgin of Guadaloupe candles are new too. Then there's the philosophical question, "if you light a lot of them at once, is it a force multiplier?"

I think I'm going to like this lens. A lot. More coming soon.

Nikon D700, 50 mm 1.8, PK-13 extension tube (27.5mm)

In principle, extension tubes are one of the cheapest ways to play around with macro photography, using the high quality optics I already own. By stretching the distance between the optics and the capture plane (film or sensor), it works essentially like pulling an overhead projector away from the screen in a classroom, resulting in a larger, and less bright image, cast on the same size rectangle of the sensor. It also decreases the subject-to-lens working distance, for the 50mm from about 18" to under 3".

Every spring for at least the last five years, I said I would buy an extension tube, or even a set. Then I'd get stuck in circular optimization. The Nikon models aren't cheap and yet don't have the internal electronics to work with their newer lenses (the ones without aperture rings) and the third-party ones get poor reviews on robustness. This month I found a used Nikon PK-13 on sale and flashed the credit card. It's light, easy to pack, and does the job. I have the 50mm and the 28-70mm has an aperture ring, so it will work with the extension tube as well.

Ready for spring, anyone?

Glassware at Pago

For as long as I've owned my Nikon (2002), I have had a wish list of glass that always seems to add up to around $10K. Every time I upgrade my gear, another item of desire replaces it. Today's fantasy list:

• 200-400 VR +$6000
• 16-35 VR $1200
• 24 mm tilt/shift $2000
• used 70-180 micro $1800
• Sigma 15mm fisheye $600
• Singh-Ray Variable ND $400

Total: $10,200. How can that be? It's always the same amount, no matter what I have already bought. And what does it mean? Clearly, those crafty camera engineers will always be tempting me. That's their job, and they do it well.

Daydreaming about more glass is fun once in a while. Scott Jarvie's inspired use of an 8mm lens and ring flash shows how much fun a specialty lens can be. But is a shortage of optics really what is keeping me from making my pictures? As I reminded my students last month, I made this picture with a Nikon D70 and the 18-70 kit lens. It's pretty good on the technical side, and today, every entry-level Nikon and Canon exceeds that camera's specs. Gear, or lack thereof, is no excuse to stay home and think about the pictures I "coulda-woulda-shoulda" taken IF ONLY I HAD [fill in the blank] lens.

I know this today: when I start wasting time shopping for optics, it's time to pack my bags with the gear that I have and go make some pictures. Now.

The first SLR I ever had a chance to use regularly was kitted out with one and only one lens: a 50mm 1.8 lens. And for every camera body I have owned since then, I also picked up a 50mm lens to go with it, even after mere mortals could afford zoom lenses. Before we all could afford a zoom lens, the only zoom control you had was your feet. Feet still work well, by the way.

Now I own bigger, heavier, more expensive glass, but I always have my 50mm in my bag. Why? When I was in NZ, I dropped my camera lens-down onto a rock. Ouch. The UV filter on my 24-105 do-it-all zoom shattered; the lens itself survived, although I had to buy a pair of needle-nosed pliers to get the glass out of the filter mount and unscrew it. But before we left the States, I had bought the 50mm as an insurance policy, and I was able to make pictures while we hunted down a hardware store in the Coramandel. Superstitious, or cautious, I still count on it as a light-weight back-up.

I like to focus on a single technique or concept for each Photowalk. Last Saturday, I decided to go back to my roots and shoot only with the 50mm 1.8. I left everything else at home. I did miss a few shots that I wanted, but was unwilling to climb in the shrubbery to get. Instead, I pushed myself to look at what I could do with this lens, like an artist painting with a restricted palette of only a few colors.

I shot almost everything wide open, which I never dared to do when I borrowed that first camera--everything back then was f16 so I had some hope of getting a sharp picture. Come to think of it, there was no autofocus on that camera either, and I was extremely near-sighted... Anyway, I thought the bokeh (the shape of the smeared-out defocused highlights in the background, is very pleasing in this image.

The best news of all: only $135 today at Pictureline in the Nikon range. Canon has a similar lens at a similar price. I now strongly believe that it is the first lens beginning photographers with a kit lens should buy, once they are ready to expand their optic arsenals. On the entry-level DSLRs with their smaller sensors, this lens functions as a 75-80mm lens. That's a length which is perfect for portraits. Old-school film photographers paid tons more for a comparable lens (and you will too when you move up to a full-frame sensor). They weigh less than a 1/2 empty can of soda, which counts for a lot, and they are so little that camera-shy folks find them a little less intimidating.

To use another art metaphor, sometimes it's worth it to me to play some scales, to go back to some fundamentals and see what I can do with them now. Photowalks are a great opportunity to do that, and share what we discover along the way. Can't wait to see everyone at the next outing.

Sunrise at the starting line

Either the bike or its rider is called Butch-couldn't really hear over the engines that were revving up at the start line of Speedweek. Bryan Jones and I drove out early on Sunday the 9th to ogle the shiny metal and make some pictures.

Jamie Deetscreek

Utes win 197.075 over Florida 196.00.
D700 wins, ISO 2500, f 2.8 1/1000 sec with 70-200VR
PhotocampUtah tomorrow, bright and early, where everyone will be a winner, thanks to our great sponsors.

Recessional, Cathedral of the Madeleine

Today I took my brand new Nikon D700 out of the box, slapped a lens on it and raced down to the 5:15 mass at the Cathedral of the Madeleine to test it out in some real working conditions. (ISO 1600, 4.0 at 1/50 sec, 28-70mm 2.8 lens on D700). It is completely unlike me to do such a thing. Usually I would read the manual, push all the buttons, and baby the new machine. I forgot myself.

Note: I am working with the dioscesan archivist on a project for the centennial of the Cathedral of the Madeleine, and I had advance permission from the rector to photograph a weekday mass. Visitors are welcome in the Cathedral, but in general photography is frowned up during service.

Orchid (Lensbaby w/macro diopter(s)

From the most recent PhotowalkingUtah event, a trip to Cactus & Tropicals store in Draper. I used my DIY studio box most of the day, but the orchid was too tall. It fit perfectly in Harley's more elaborate (PVC sprinkler pipe construction) set-up. I also used his flash and remote trigger, since it was already set up for his environment.

Besides the abundance of floral subjects (and no wind!), another great thing about this Photowalking venue was the ambient temperature was not just well above freezing, it was downright clement. Great call by Bryan Jones to select this location for January. You can see more photos from the group of +60 at our Flickr page.

Multiple exposure

When I started out with my Nikon N80, I made some multiple exposure images that I liked. I now think of them as precursors to the remix series. Then I got my D70, which didn't have multiple exposure capability. It was one feature I really thought I would use a lot when I bought the D2X, but this image is from the only session I've used it so far. I like this picture a lot; I've just reread the manual on multiple exposures to keep the tool "sharp" in my image-making toolkit.

Maddox restaurant in Perry Utah is about as old-time family dining as you can find on Highway 89. The neon is a classic, a major landmark near Brigham City. I've even spotted it from the air.

What features on your camera could you use more frequently?

Lensbaby Composer with 4x macro lens, f4 aperture

My Lensbaby Composer arrived this week. I have the original Lensbaby, the ghetto one that looks like a section of dryer hose. Despite the original's limitations, and two-handed action, I have made some images that really pleased me. The Composer is so much easier to use, and best of all, locks down tight, no more triggering with the remote cord in my mouth! I also ponied up for the macro kit, which adds another fun factor element.

Classic Chevies

These classic cars are one of the earliest photos I made with my D70. Might have had it for a week. I was a guest at a private party when I made this photo in 2004, had about 30 minutes and 1GB chip to make all the photos I could before the speeches started. I did a careful calculation to justify the D70 purchase: it would pay for itself after the equivalent of 100 rolls of slide film not run through the N80, at $12 per roll of film and processing costs.

I naively thought I would make it pay in a year. Little did I imagine that I would shoot the equivalent of 400 rolls in that time. It's only gotten worse. I think the D2X rolled over past 40,000 exposures last weekend, but it might be 50,000, in 2 years. Adriel and I were talking about the waste of time to cull through digital exposures that are "free" although costly in terms of time and storage. Lightroom and other cataloging programs will speed up the process, but now I realize my time is still my most valuable asset each day.

I am coveting a new camera, and it is good to look at my old imagery to think about what I really need to make the photos I want to make. I photographed the Chevy image with the basic D70 and kit 18-70 lens: the cheapest Nikon offering on the market at the time, and in very low light. The image still pleases me. It's not about the gear. It's about what I see. Repeat. It's about what I see.

Three separate shots with filtration as labeled, camera mounted firmly on tripod (click image to enlarge)

Two early morning trips to Temple Square, including our first "impromptu" Photowalk (yay Harley and Aaron for braving the alarm clock) have yielded some interesting data, if not pictures. Actually, some fine photos were made, but today's images belong more in the data category.

I've used the Cokin 840 Diffuser filter in the past as a remixing layer with some success (It's one layer in this Temple Square image, for example). In putting together this weekend's workshop for the Moab Photo Symposium, I acquired several new tricks for my bag, including one of Cokin's Pastel 087 filters. My group will be doing a Photowalk-esque walkabout during the workshop, and won't lack for photographic esoterica to experiment with.

The pictures on Cokin's site and printed materials don't real serve to show how different these two filters really are. The plain version was shot at f8.0 1/320th sec at ISO200, both of the filtered images at 1/200th sec. I'm not sure pastel is the right word for the 087 filter. It's more like "smear the light around and kill the contrast," which probably wouldn't translate to French very well. I made some images in the shade. Here the differences aren't nearly as striking.

Two separate shots with filtration as labeled, camera mounted firmly on tripod (click image to enlarge)

I haven't had a chance yet to see how the 087 works in night scenes. I'm usually not a fan of heavily diffused portraiture, but I think I'll do the experiment. I am always much happier working with data than lore.

A fun part of these effects is that the gear is (relatively) inexpensive and lightweight. You can get the basics at any decent camera shop. The retail shops aren't likely to have everything in the Cokin catalog; I bought some of the more obscure ones from the Filter Connection. I've even outfitted my Canon G9 with a LensMate filter mount, which can mount a Cokin filter holder. Now I don't have to hold the filters up to the lens, which is not exactly admirable technique, though it did work in a pinch.

The Pastel 2 087 has earned a spot in my camera bag, although it must keep company with two more new acquisitions I'll post about soon. What's your most unusual filter/gear in yours?

We were discussing the MacGuyvering of photo gear on the PhotowalkingSLC Flickr site today, which reminded me that I had rediscovered this pair of photos. The location is the Big Bend pull-out in Zion canyon. It was mid-afternoon on Halloween, with the sun pretty low and directly in front of me. The Virgin River flowed between the road and the deeply shaded canyon wall. Crossing the river wouldn't work; it would be too low because I wanted to keep the image plane parallel to the wall. There was absolutely no wind, but the sun was giving me fits with the glare.

I needed the mother of all lens hoods. Luckily, my location was close to the parking lot, and I rummaged through the truck for something to shade the lens.

Repeating to myself: "it doesn't matter what it looks like if it's outside the image frame," I grabbed the one thing that seemed workable.

Cold but willing subjects (f8, 1.0 sec, ISO 400, Noise Ninja)

R's side of the family sent its delegation for Thanksgiving, and we trundled them off to Temple Square to see the lights on Friday. Despite the cold, they were willing to pose for a few photos.

The Vermillion Cliffs from the Hwy 89 viewpoint north of Bitter Springs

I spent this week alternating among book chapter edits, the shocking backlog of Photoshop work, and the downright appalling backlog of housework. Progress, but no completion on any of those task list items.

I found a parking spot with a broken meter at the library on Wednesday. Usually I have to run out every two hours to feed the meter, since the truck won't fit in the underground parking. Without fear of the parking enforcement golf cart, I spent hours tracking down facts I wanted to double-check. How many people drowned at Lee's Ferry before the Marble Canyon Bridge opened in 1929? (Eleven.) Interesting things like that.

I photographed the images for this view of the Vermillion Cliffs on my Tucson trip back in April on the way to Flagstaff in July. I had to check the dates on the original files--I've been so many places since April, I can't remember when I was where. The final image is a 6000x4000 pixel panorama stitched from three images. I use Photoshop's Photomerge to align the images, but I select the "keep as layers" option. Then I do my own masking to make seamless transitions. It makes a bigger, but better file. I could wrap my truck with a print from this file. I could turn the exterior of my house into a billboard with it.

Housework gives me a head-clearing break from my computer. Or so goes the theory. I did spent time this week with the vacuum, the mop, the scrub brush. But then Nikon and UPS surprised me yesterday with the early return of the repaired D2X. Broken aperature lever, an all-too-common, non-warranty repair. "Only" $400. When I approved the estimate on Wednesday, the technician said it would take 7-10 business days, so I was somewhat shocked to open the door yesterday (48 hours later) and find a box on my porch.

It's back, it works, and I have pictures to make. Those aspens are going to turn fall colors from Babb, Montana to Flagstaff, Arizona. Actually, all the way to the Santa Catalina mountains above Tucson, but that far south is over the top. Even for me. Time to get out the maps and plot my next course. With enough down time so Mr. Mop doesn't stay in the closet until November, so I can finish that chapter, so my friends will remember my name.

Team roping at the North American Indian Days INFR rodeo in Browning, MT

Millie's going to guest blog later this week and tell you about our adventures. Let me just say, 5 days, lots of miles, lots of shutter clicks.

The D2X rocks, that's one certainty in the midst of all the mileage and electronica. I reviewed some of the rodeo shots I made on Saturday, and the color, focus, and contrast are just gorgeous. I have done nothing to this RAW file, except resize it and a light sharpen (I don't sharpen in-camera at all). No saturation, no contrast. It is an sRGB file, which works better on the web for my tastes, but that's it.

The D2X is a beast. It's heavy. The buttons are spaced for a guy's bear paw, not my smallish hands. It does everything I ask. It's a beautiful piece of engineering. Kind of like some of the ponies we saw at the rodeo. Amazing animals, even more amazing horseman(woman)ship. If you get a chance to go to an Indian National Finals Rodeo event, don't miss it.

I just updated at.com with a post on useful photography stuff from the outdoor store .

An outtake from the 2005 Christmas project

I find the the flamingo needs the blue lights to be complete. I tried it without, and I much prefer them in the frame.

Review of my already purchased Sekonic light meter contains this confirming statement that I am not losing my grip. "Because I put more film through my Nikons than any other camera, I use its metering as my personal standard. Over the years I have found that all my handheld meters were 1/2 to 2/3 stop under the Nikon reading. But Sekonic, Gossen, et al. make no apologies for this, saying that there is no international standard for a neutral gray. Sekonic says they match Nikon's standards but I found about a 1/2 stop difference. Further shooting and tests will tell me more. "

The spot meter reads about 2/3 under the Nikon. Now that I know this... The fix is to set a compensation factor in one device or the other, and to stop going out into the cold and trying another experiment. Funny, as usual, I thought it was me...

Safely put away

I put away properly the N80 film body yesterday. Finished off the roll of film in it from last summer, took out the batteries, and put on the body cap. I had started in a roll of Velvia in July 2004 to do some night exposures - still had a dozen frames, which I finished off in the garden.

The N80 still feels good in the hand, light and responsible. Serviceable, and I learned a lot with it. It went to Paris and New Zealand and wolf-watching in Yellowstone and did not let me down.

That sounds so final. I'm keeping it, and I might need it for a project sometime. The D70 won't do star-trails, for example. It's a good back-up and a fine friend. Worth hanging onto.

Remind me: where do I go to get that film developed?

Downtown SLC

For a workshop at the Salt Lake Art Center, I'm pulling together shots on the theme of Glass & Architecture from my collection of "waiting to see the light of day" negs and files. I have images from Paris, Sydney, Auckland and Perth, and I wanted one from SLC. Here's one I'm considering, taken Saturday night with the new 12-24 DX lens. I scouted this shot the weekend before, and knowing I couldn't make the picture I imagined without the new lens is what broke the bank. It's supposed to be a good thing, to pre-visualize, but no one ever mentioned the expense.

A.B Eberle, team co-captain, senior leads the Red Rocks to another victory

Most Utah gymnastics meets are civilized one-on-one matches where we alternate with the visitors on every event, and the spectators can see every competitor's routine. On Friday, the Utes hosted a quad match, which means all events are going on simultaneously. R did a great job keeping up with the score during the events, and the fans around us appreciate it. Utah prevailed (197.425) over No. 6 Florida (196.450), Stanford (196.025) and California (191.500). It was really fun to have Trish join us.

Shot with the new bank-breaking 70-200 VR, worth every one of the vast number of pennies. I have never regretted spending money on vacation or for better toys, but I have later regretted cheaping out on stuff - not this time.

My test image

In the last 4 days I have printed 26 test images on 23 papers on the Epson 2200. Outcomes: I like the look of optical brighteners (non-archival), smoother texture, and icc profiles make a HUGE diffference. Favorites right now: Moab Entrada and Hahnemuhle Photo Rag for the matte papers.

The glossies are still drying.

Unwilling subject Lucy

Shell collection #1

Thanks to Bryan for pointing me to the LensBaby which arrived Saturday. Popped onto the D70 and almost immediately got a decent picture of Lucy with it. This is going to be a fun toy.

Time to reactivate the blog - the D70 is on order, hoping it will ship today. R encouraged me to spend this unholy amount of money, and maybe in the end it will pay. At $12.50 a roll*, it should take about a year to make up the savings in film and developing. But now there is a whole list of new "luxury" problems - filters in the odd 67mm size, batteries, memory cards. It should be fun. It shall be fun. Stay tuned for new images.

* [2 October 2006 - I actually shot off the equivalent of 400 rolls of film with this camera in the first year I owned it. I didn't figure on the multiplication factor on my productivity when I switched to digital.]

I miss my camera. My N80 has been at the Nikon service center for three weekends. So much for my "roll a week" discipline. The problem had its curiosity factor - the aperture would on occasion refuse to snap back open after a small fstop shot. Annoying, and causing me to miss shots. Got it there with 6 days left on the warranty.

I note here for the record that the N80 was Galen Rowell's light weight body. He knew what to do with it, and more money was not the issue. Further evidence that it is not the camera, but the seeing.

I don't need the camera to see - the light on R's face last night was exquisite. I need it to study how to realize the seeing onto the final image. That's the magic, and while I hope to master the process, I hope it never completely loses its mystery.