Creepy crawlies /  by Mario Mirabile

I've long had a fascination with macro photography. The fact that it requires specialized equipment certainly gets the gear nut in me going, but it's the detail that a good macro shot reveals that lies at the centre of its appeal. A carefully constructed static shoot in controlled conditions is challenging enough, but shooting live subjects in the wild raises the bar considerably.

These two beasties were shot under markedly different conditions. The first was a chance encounter while out walking, the other was found in my back yard while hanging out the washing. I didn't have my macro lens on the walk, but fortunately I had my extension tube which converts my telephoto zoom into a handy quasi-macro lens. The other required several attempts before I got a decent capture. When I first spotted him it was quite windy, and there was no way I was going to get the shot as the tiny (no more than 1cm) spider moved around on the wind. Hoping to get in early next morning before the wind came up, I set up my gear before going to bed. Unfortunately, there was no sign of him when I returned to the same spot. I checked back periodically and found he'd come back about a week later. As a bonus, he looked like he'd grown quite a bit since I last saw him.

Tech Talk
I had a few issues to overcome with the first spider. Breeze (no option but to wait for a lull), backlighting (add a bit of flash from the built in pop-up), subject up a tree, no tripod and no macro lens. Fortunately, adding the Olympus EX-25 extension tube to the Zuiko Digital 50-200mm SWD zoom allows around 1:3 magnification ratio with reasonable working distance. Using the on-board flash limited my shutter speed to 1/250th second, but it was the only way to get enough light onto the spider for any detail to be visible into the back-lighting.

I had more time to set up for the second shot which was just as well as the spider was much smaller. This time it was the EX-25 + Zuiko Digital 50mm macro giving 1:1 magnification. I used the Olympus RF-11 ring flash at its lowest manual setting and took my time manoeuvring the rig on a tripod to get a background without too many highlights while keeping the spider in the plane of focus. It wasn't until afterwards (and after the spider had departed) that I realised I had left the camera's image stabilization on, which may have taken the edge off the sharpness of the photo.

Circular logic /  by Mario Mirabile

A circular argument is logically flawed - it commences from the premise that what is to be proved is true. There's no such problem with the circle in art, however. It has long been considered a powerful symbol of simplicity, perfection, continuity and eternity. 

A simple, but perfect, geometric shape, the circle can be found everywhere. From the humble donut to stunning modern architectural creations, circles lend themselves to interesting images.

Tech Talk
These images were taken over a couple of months, so the equipment varies. 1 and 3 were Olympus E-30 and Zuiko Digital 14-54mm f2.8-3.5 during one of our lunchtime photo walks, appropriately themed "circles". No. 2 was Olympus E-30 and Zuiko Digital 50-200mm f2.8-3.5. No 4 was Olympus E-5 and Zuiko Digital 7-14mm f4.

The 7-14mm is an amazing lens. For such a wide field of view (14-28mm full frame equivalent), it provides an extremely sharp and well corrected rectilinear image. Arguably the finest ultra-wide angle lens available on any camera system, and one of my favorite photographic tools.

Classic style /  by Mario Mirabile

My colleague Martin called me over one day to show me one of his treasures. It was a 1930's Leica, still in its original box with accessories. He assures me it's fully functional, and I don't doubt it, given the reputation of the marque. There's something special about holding such a classic piece of engineering in your hands The heft and solidity of this little gem speak of a time when taking a photograph was a much more measured and thoughtful process than it is now.

There's no doubt that most modern cameras are far more capable imaging tools than this relic, but they lack its soul. The rapid march of technology dictates that our cameras are now almost disposable. The Olympus OM-2 I bought in 1980 served me for 25 years before I was seduced by the lure of digital imaging. Now I carefully study the specs of every new model, considering if it's time to upgrade. I've put that decision off for the present, but the next round of model updates will no doubt have me prowling the review sites and camera stores once more.

Update
My image "Now you see me" got second place in the Artz Blitz competition I wrote about in my last post. This came as quite a surprise to me, and I'd like to thank the Kingston City Council, the judges and the sponsors for conducting the competition.

Tech talk
I enjoy the challenge of composing a still life, and I don't know why I don't do it more often. Both images were simple one light set-up with a white card reflector for fill. No fancy lighting gear -the first shot was with a desk lamp with a baking paper diffuser, the second with a large table lamp draped in white fabric to soften the light. I didn't bother correcting the white balance as the yellow tungsten cast helped accentuate the antique look. I like the composition of the second shot more that the first, but I thing it's let down by the light meter. Even though it dates from 1960, it's just not old enough to match the aesthetic of the Leica.

Both shots are focus stacked to increase apparent dept of field. RAW, processed in Lightroom 5 and Photroshop CS6. Olympus E-5, Zuiko Digital 50mm f2 macro.

Now you don't /  by Mario Mirabile

The City of Kingston has a thriving arts program. It has a gallery available for community exhibitions, regular art competitions, and actively supports theatre, film, public art and music. There is even a pair of artists in residence at the City Hall.

They conduct an annual competition called Artz Blitz. The concept is simple - a theme is announced on Friday at 5:00 PM, and a completed work needs to be delivered to the Arts Centre at 5:00 PM Saturday. I've never entered before, but thought it might be an interesting challenge so I sent in my $25 and sat back and waited to see that the theme would be.

The  theme turned out to be "NOW". which really had me scratching my head. My first thoughts were along the lines of time or age, but something Trish said set me on the path of "now you see it, now you don't". We dropped in on friends Friday evening for a quick birthday drink, and even though I didn't have a clear idea of what I was going to do, I secured the services of Allana as a model. The next morning, as I scouted locations in the local streets, my idea solidified and this is the result. I submitted it under the title of "Now you see me", but on reflection I think I prefer "Now you don't". I'm not expecting great things in the competition, and I'm not even sure that the photo meets the theme, but at least I won't have to wait long to find out. In keeping with the spirit of the competition, the results will be announced just 24 hours after submissions close.

Tech Talk
I was initially going to have Allana walk past a sign pole, but the diagonal formed by the guy wire made a much better delineating line. The setup was fairly straightforward. I had the camera on a tripod across the street. With Allana waiting to the right of frame, I took one shot then asked her to walk through the scene while I fired a rapid burst. I planned to merge two frames and have Allana completely disappear as she passed the wire, but the fortuitous inclusion of the lady with the shopping trolley sent me off in a different direction. 

Olympus E-5 and Zuiko Digital 35-100mm f2. Post processing in Lightroom 5 and Photoshop CS6.

Don't go home without something /  by Mario Mirabile

I went out on Saturday with the intention of chasing birds. I was with a friend, and as our original goal on the west side of the bay looked like it was going to be hit by heavy rain, we stayed a bit closer to home. The two wetland reserves we visited provided little in the way of feathered action. The few interesting birds we saw kept their distance for the most part, although Gary managed to get a nice pair of sulfur crested cockatoos in flight.

As we came back to the car at our second stop, we traversed a lightly wooded area where mushrooms sprouted profusely among the leaf litter. I normally prefer my mushrooms with a nice steak or in a stew, but I didn't want to come home with nothing to show for the outing. Before long I was on my knees trying to keep steady enough to get a sharp shot in the heavy overcast. That wasn't working, so I got serious and fetched the tripod. OK, they're not as pretty as birds, and I ended up with muddy knees, but at least I didn't come home empty handed.

Tech talk
I was bird hunting, so mushrooms seemed a poor second best. As such, I didn't bother swapping to my macro lens and kept the (very fine) Zuiko Digital 50-200mm f2.8-3.5 SWD zoom on the E-5. This lens really is one of the jewels in the Olympus lens line-up. Bright, sharp wide open, and focuses down to 1.2m at all focal lengths. Coupled with an extension tube, it makes a fine long, semi-macro lens, although I didn't need the tube here. Both images are tripod shot and focus stacked from 3 images in Photoshop CS6 after the RAWs were processed in Lightroom 5.

To market, to market /  by Mario Mirabile

The Queen Victoria Market has been operating on the same site on the northern fringe of the Melbourne CBD since 1878. It's the largest open air market in the southern hemisphere, and a popular shopping destination. It offers fruit and veg, meat, fish, deli, shoes, clothing, jewelry and variety items. You could once buy a live chicken if you wanted one, but they no longer seem to be available Lots of locals shop here, but it's also a huge tourist destination, drawn no doubt by the vast quantities of trashy Australiana on sale.

I used to live nearby in the 1980s and shopped here regularly, but these days a visit to the Vic Market is an occasional treat. It's much less shabby than it used to be, but even though it's lost some of its old world character, it's still full of interesting characters. Worth a visit if you're in town.

Tech Talk
Not the easiest place to shoot. Inside the enclosed meat/fish/deli area, the light is a mish-mash of artificial sources of variable intensity. Outside in the sheds, it's deep shadow against often bright backgrounds. I was using my Olympus E-5 and Zuiko 35-100mm f2. The 35-100mm is  beautiful lens, but large and heavy, so It can be difficult to hold steady without support. But it's an f2 lens, and even wide open a beautifully sharp and contrasty optic, so perfect for these lighting conditions. Even so, I was at ISO 800 most of the time, but the E-5 handles it well as long as the shadows aren't too deep.

Be prepared /  by Mario Mirabile

Two minutes and sixteen seconds. That's all that separates the first image from the second. I'm not holding these pictures up as great art, particularly as they were shot through a dirty office window. I'm just making the point that when great light happens, you'll miss it if you blink. You have to be ready to grab it, and grab it quickly. It's not going to hang around and wait for you to get your camera settings right.

I encountered the most amazing combination of light and sky as I cycled past Brighton Yacht Club just after dawn on a still and frosty winter morning. The clouds had formed intricate and delicate patterns, and even though I was looking west, they caught the dawn light in a spectacular orange display. Coupled with the still water and reflected yachts, the scene was breathtaking. I pulled over and fished out the Olympus C-8080WZ which at the time was my take everywhere camera. An almost pro level camera in its day (2003), it was showing its age by 2011. It had a fine lens and good image quality, but was hampered by its ageing technology. Slow and hesitant autofocus, ISO that needed to be kept to 100 or lower, a tiny LCD, ho-hum viewfinder and insanely slow card write times (14 seconds for one RAW file!!!!). It didn't help that just as I pulled over, my riding companion arrived from the opposite direction, so, rather than take what time the light allowed, I rattled off a series of shots and was on my way.

When I checked the images, all I found was a mass of blur - I'd been shooting at 1/8 second. I can't remember why the camera was set the way it was, but since then, I've gotten into the habit (most of the time) of resetting my camera to a default state before I turn it off. That way, when I turn it on I know what I'm starting with, so hopefully I won't be caught short next time great light happens.

Tech talk
Both images Olympus E-30, 14-54mm f2.8-3.5 mk1 lens, aperture priority at f4.5, -.3EV,. The extra blue tint probably comes from the (admitedly not too clean) office windows.

Shooting in the dark /  by Mario Mirabile

Modern camera equipment is remarkably capable, able to take photos in all sorts of difficult lighting. But some situations are designed to defeat all but the latest top flight pro equipment. Such was the case at the Fox Hotel in Collingwood this evening where Slim Dime and the Prairie Kings were performing their upbeat hillbilly boogie.

The lighting was the usual crazy venue mix of incandescent, fluorescent and LED. Surprisingly, however, it all managed to blend together to produce quite a decent level and color of lighting - as long as you wanted to photograph the band's shoes that is. The main LED light were angled down so that the performers' faces were almost always in shadow, resulting in unworkable shutter speeds and ISO settings. Fortunately the music was lively and entertaining, and I did manage to get a few nice shots of the lead singer, Jen, who found the light from time to time.

A great band and well worth seeing if they're playing down your way.

Tech talk
Both images were shot with my Olympus E-5 and Zuiko Digital 35-100mm f2.0 at f2.0. The first image was ISO 1600 at 1/80s, the other at ISO 3200 at 1/125s. I'm usually reluctant to shoot above ISO 800, but the lack of light here dictated otherwise. I'm surprised at how well the ISO 3200 shot came up, but it shows that high ISO is not a critical problem as long as you're not shooting into deep shadow. I wouldn't try making a big print out of it, but it's fine for web display. Most shots at this ISO, but in shadow, were pretty much unusable. Also, autofocus was quite slow difficult, particularly as the band members were moving around the stage. Of the 150 frames from the gig, I probably got 6 images I'd be happy to use.

RAW processed in Lightroom 5.2 and Photoshop CS6.

Get to the point (with thanks to Mr. B) /  by Mario Mirabile

Scott is a recent addition to our lunchtime photo troupe. Each week he has managed to produce at least one image which reveals a good eye for simple and striking composition. This week it was a picture centered on the traffic flow arrows painted on the road just outside the building we work in. I knew the scene immediately, having seen it any number of times, but I'd never really seen it quite the way Scott had. I suppose the interesting compositional possibilities had been lost in far more mundane surroundings, but, armed with this new perspective, I decided to explore the possibilities for myself.

The roadway in question runs under an overpass which provides a vantage point about 15 metres above the road. Perhaps too high, but there's no way to get into a lower position. There's really no more to do than frame the shot, wait for someone to come into view, and hope they provide a point of additional interest. Quite a pleasant way to pass the time, if you can cope with the curious stares that come your way.

As for the third image, I took it last year and have been looking for a place to put it. It has an arrow of sorts, so it sort of fits the theme here. Besides, it was taken only a few metres from the other two. PHUGAZI? Don't ask me.

Stillness /  by Mario Mirabile

There's something very calming about the process of creating a still life image. After deciding on a subject, it's all so slow and deliberate. The careful selection and precise arrangement and re-arrangement of props and lighting is something that probably hasn't changed for hundreds of years. What has changed is our ability to quickly see if our careful planning is giving us the desired results. If not, we can make a few subtle changes and go again - much quicker than scraping the oil off a canvas and starting from scratch. 

The photo of the glasses is also interesting for me because it's one of the rare occasions when I've re-created an image and actually been more satisfied with the second attempt. Normally, when I try to improve on a shot by re-creating the setup or going back to the same location, I just don't seem to be able to improve on the first attempt, particularly when there's any degree of spontaneity involved in the original. The original version of the glasses was a bit dull and I thought that firing a flash through the paper background might add some pop and clarity to the glasses. It worked, and the back-lighting had the additional benefit of highlighting the texture in the paper and adding a nice graduated fade from top to bottom. 

And the apple tasted nice, too.

Keeping it simple /  by Mario Mirabile

Simple. Uncluttered and uncomplicated. Sometimes, lack of complexity just seems to work. I find these images soothing. Perhaps it's the tones, combining cool and warm into one, perhaps the gentle organic curves. Whatever it is, they're so far removed from our hectic and crowded lives that even clichéd images of water drops manage to rise above the mundane. 

The topic for our lunchtime photowalk this week was green. We went to a CBD fringe garden where I was snapping the usual assortment of close-up subjects. Then I came across these plants, where a few drops of dew had managed to survive till lunchtime. Their broad, soft leaves provided a wonderful sculptural background, and while I was forced into a few awkward positions to get the shots without disturbing the droplets, I'm happy with the results. If nothing else, they'll make fine desktop wallpapers.

Dockside /  by Mario Mirabile

When I was growing up in Geelong, the waterfront near the city centre was still a working port. It's a different story these days. One of the main piers has been demolished, the other is a car park for the large restaurant perched at the end, and the wool warehouse where I lugged bales of wool one summer is one of Deakin University's campuses. They've even relocated a vintage carousel to the foreshore - I don't know what the wharfies that worked the docks would make of that. The gentrification of the waterfront includes many artistic touches - there are over 100 decorative bollards painted by local artist Jan Mitchell dotted over four kilometres, and the jetty pylons are now far more decorative than functional. 

I was in Geelong over the weekend attending the Victorian Association of Photographic Societies convention. The session I enjoyed most was an excellent presentation by local photographer John Conway, which really opened my eyes the possibilities of the area. What struck me most was that when I lived there I had never looked at the city and its surrounds through photographer's eyes. Either that, or the light is much better these days than it was in my youth.