Let there be light /  by Mario Mirabile

Last time I saw Slim Dime and the Prairie Kings perform the light was terrible - for photography at least. The were also playing a very small stage, which made getting clear shots of the band members difficult. At another gig I attended recently, the stage was still cramped, but at least there was more light. Not great light admittedly (whoever invented LED stage lights should be found and shot...), but at least there was enough for the camera to focus most of the time.

The gig marked the launch of their new CD "Yes Sir". A great, uptempo mix of hillbilly boogie, with equally great cover photography by my friend Gary Beresford of Snapped Photography. Highly recommended listening if you can track down a copy.

Tech Talk
ISO 1600. Back in the film days, being able to shoot at such high sensitivities was possible, but was fraught with risk and required specialized film processing. These days, even the most basic digital camera allows it. That's not to say you should use it, though. I'm pretty comfortable shooting my E-5 up to ISO 800 if the light is OK, but I don't like to go beyond it unless I have to.

I was shooting at ISO 1600 here, and with careful processing, the results are OK for for the web. I wouldn't be making big prints of them though. The E-5 goes to ISO 6400, but compared to many full frame offerings, the results are poor. I was helped by using my 35-100mm f2 lens, a great event and concert lens if you can ger close.

Olympus E-5, Zuiko Digital 35-100mm f2 SHG.

Letting off steam /  by Mario Mirabile

Being and "enthusiast" of any pursuit requires a degree of dedication most people find baffling. It's one ting to be get excited about postage stamps, cars or even - God forbid - cameras, but when it comes to being passionate about 100 tonnes of steel, railway enthusiasts are in a class of their own.

As the first form of motorized mass transit and a symbol of the coming of the industrial age, trains hold a special place in the hearts and minds of many. Stream locomotives, in particular, have a classic fascination about them.The volunteers at Steamrail Victoria are a dedicated bunch who work tirelessly to keep Victoria's rail heritage alive. With access to the heritage listed Newport Rail Workshops, not only do they maintain the locomotives and rolling stock, but the also regularly organize trips to allow other to share their passion. You can also visit the workshops by prior arrangement, and as long as you attend a safety briefing, you're free to wander through the site. Find out more at www.steamrail.com.au .

A highly recommended way to let off steam.

Tech Talk
The lighting inside the huge sheds which comprise the Newport Rail Workshops is pretty bad for photography. Even with a tripod, the dim mix of a bit daylight, flourescents, and what I think are sodium vapor lights, makes for some lighting challenges. It lends itself to grungy fake HDR processing, which I think emphasizes the raw power and steampunk romance of these classic machines.

Olympus E-5, Zuiko Digital 12-60mm f2.8-4, Zuiko Digital 7014mm f4. Processing in Lifghtroom 5, Photoshop CS6 with a little help from Nik filterers.

Revisiting a classic /  by Mario Mirabile

Over the years, Leicas have developed a reputation for being superb imaging devices. These days, they’ve become objects of desire, more to be possessed than used, but it wasn’t always so. They weren’t the first to adapt 35mm cine film to still photography, but they had the first practical and commercially successful implementation. Compact and robust at a time when cameras were generally much more cumbersome, they quickly became the tool of choice for – amongst others - photojournalists and street photographers who often needed to be fast and discreet.  The ranks of Leica shooters through the first half of the 20th century (before the rise of the Japanese giants) is a roll-call of greats. Ray, Capa, Cartier-Bresson, Arbus, Winogrand and Newton and many others used them to great effect.

I first shot this little classic a few months ago, but wasn’t completely satisfied with the result. At the time I included a light meter in the composition, but despite being more than 50 years old, it looked out of place with the 30s vintage camera. I decided to have another go. I often find that when I try re-shooting a scene, I have trouble improving on the original. I think I’ve managed it this time, primarily because I left out the obviously plastic light meter.

Handling this gem from another era is a tactile treat. It has a satisfying solidity and heft that’s most modern cameras lack, and I feel lucky to have been trusted with it. I wish I was game enough to put a roll of film through it and see what It can do, but I think that would probably be taking things a little too far.

Tech Talk
Once again simple diffuse window light has proved very effective, with a piece of white card to bounce some light back into the shadows. I wanted to keep the books in the background blurred, and while I could have done that in post to some extent, I prefer natural lens blur if I can get it. I took several shots at a relatively wider aperture (f5.6)and stacked them in Photoshop.

Olympus E-5, Zuiko Digital 12060mm lens.
Leica Model II (Introduced 1932), 50MM F2.5 Hektor lens, original cable release and yellow filter.

Panning for gold /  by Mario Mirabile

On the occasions I've visited Sovereign Hill, (a gold rush era theme park), I've had great fun panning for gold. Over the course of a couple of hours squatting by a muddy artificial stream, my daughter and I collected a few tiny specs of precious metal. We thought this a great reward for our labour, despite the real value of our hoard more likely to be counted in cents than dollars. Such is the lure of the yellow metal.

I've had less success over the years panning with my camera. I've never had the knack of smoothly following my moving subject and squeezing the shutter at the right instant. When I examine my attempts closely, they indicate I have a tenancy to pause momentarily as I take the shot, which destroys the sense of motion a panned shot is intended to convey. I had an opportunity to practice my technique when panning was suggested as a topic for our weekly photo walk. I sought advice from the experts (image stabilization off, swivel from the hips, use burst mode), and can see some improvement in the results, but still no gold. Perhaps I should stick to muddy creeks.

Tech talk
The usual heavy city traffic both helped and hindered my efforts. When potential subjects were moving, the generally weren't moving too quickly, but the congestion also ensured blocked sight-lines and a general lack of movement. In the end, I decided to focus on people after quickly becoming bored with moving cars. People aren't ideal panning subjects as they have a lot of moving parts, and they tend to move in the vertical as well as horizontal plane, but it can still look interesting if their faces end up reasonably sharp. 

Even in overcast conditions, I had trouble keeping a low shutter speed, so I'll make sure I have a polarizer handy next time I try this. Mostly, thoughh, I need to practice more.

Olympus E-30, Zuiko Digital 50-200mm f2.8-3.5 SWD.

Making vs taking /  by Mario Mirabile

Many people think of the process which results in a photographic image as "taking a photo". I don't know exactly what this means, but to me it implies that a photograph is simply something recorded by a machine, rather than an artistic creation. There is a sense in some quarters that a photograph must contain only "truth", that it should be nothing more than a mechanical recording of an event. However, even the most casual snapshot requires creative thought on the part or the photographer. Deciding what to include and what to leave out through framing and when to trip the shutter are all creative decisions which affect the final image.

Ansel Adams titled his 1935 book "Making a Photograph", and believed that a photograph is crafted rather than simply recorded by a machine. A word like "making" has much more of a sense of input from the photographer about it. I certainly like to think of myself as a maker rather than a taker. Even for the simplest shots I like to fiddle and tweak, either before or after (and usually both) pressing the shutter release, and for some shots the process can be protracted.

I started making this image months ago. I posted a picture taken from the same spot back in June and have had thoughts of trying to improve on it. It was an opportunistic shot, with not much in the way of making up front, but with a moderate amount afterwards. It got me thinking about the same shot with two walkers, but no amount of patience was going to deliver what I wanted. I finally got round to setting it up this week with assistance from a couple of colleagues. A bit more making in Photoshop, and I was reasonably happy with it. Not completely happy though, so the process of making continues.

Tech Talk
Looks like a simple enough shot, but like comedy, timing is everything. I tried getting it in one exposure, but eventually resorted to multi-shot burst mode. Even then I had to end up blending two images (thanks for the suggestion Mr Domingo) to get the walkers in the best position. I think I like the colour version with a touch of motion blur best (no 3 in the series), but there's not much in it.  Not too bad overall, but does it improve on the original with one man crossing? I'm not so sure. 

Window shopping /  by Mario Mirabile

Framing a picture will protect it and provide a means to hang it for display. The right frame will also enhance its appearance and help it to better fit into the environment where it is displayed. It's a bit like a window into the world of the image.

Windows (not the Microsoft variant) probably originated as a convenient way to let light and air into a dwelling. At the same time they also allowed the occupants to see beyond the confines of their walls, and passers-by to catch a glimpse of what lay within. Using a window like a frame in a picture can strengthen the composition, providing context and additional points of interest. The light the window was designed to let in, can reveal to the curious eye what lies beyond it, or allow the light within to escape.

Now I'm not suggesting we all become paparazzi or peeping toms and start invading private spaces we have no business looking into. There are plenty of public windows everywhere, and - within reason - we shouldn't be afraid to look through them. After all, that's part of the reason they were put there.

Boxed in /  by Mario Mirabile

Brighton is the most up-market bayside suburb in Melbourne, and the prized real estate is not restricted to the streets running down to the pleasant shores of Port Phillip. On the beach at the end of Dendy Street, you'll find the Brighton bathing boxes. This colourful row of tiny buildings has become a photographic icon. While similar structures are scattered around the bay, these are the closest and most accessible to central Melbourne. The leasehold on the superbly located boxes rarely changes hands, and when one does come on the market, it is highly sought after. They change hands for more than it would cost to buy a house in some suburbs.

Over the years, they have been photographed from every conceivable angle. I have shots from the front, back, far away and nearby. However, I recently saw a shot from a perspective I hadn't seen before. Intrigued, I rode my bike down one afternoon to look for the vantage point from which it might have been taken. I found a likely spot along the foreshore, but the original must have been taken years ago as the tea tree had grown taller and now obscured the view.

Undeterred, I returned on a day when the light looked promising. The tea tree was still there, but I thought I might get a better angle if I could get over the low cyclone wire fence which separated the footpath from the steep slope down to the beach. It cost me a torn pair of trousers, but I did manage to get a view around the trees. I like a lot of things about this shot, but the crowd on the beach isn't one of them. I plan to return on a quieter day.

Tech Talk
It was a last minute decision to come down and try to get this shot, but the location isn't too far from home. I knew I'd need a long lens, so I took the Zuiko 50-200mm, a lens I've waxed lyrical about before. It doesn't look like it, but it's nearly 12 kilometres from the boxes to the city as the crow flies. I knew I wanted to keep both the boxes and city skyline in focus, so the anticipated f8 aperture mandated a tripod as well. The fence I had to get over was just low enough to straddle with some difficulty, otherwise I wouldn't have got the shot. I'm a bit past climbing chain-link fences.

When I return, I'll make sure I have more time to set up. This image really calls for a panoramic shot, so setting up the tripod properly for the panoramic sweep is important.  Both the base and head need to be level for best alignment of the component images. Also, the best light, with the setting sun on both the city buildings and bathing boxes, only lasts a few minutes, so it pays to be ready.

Olympus E-5, Zuiko Digital 50-200mm f2.8-3.5 SWD. Two shot stitched panorama.

How orchid /  by Mario Mirabile

Orchids are among the most widespread and diverse flowering plants. In their natural state, they come in a bewildering array of beautiful forms, and human intervention has further added to the variety. Orchid growers and breeders enthusiastically pursue the dream of developing a new variety, or just growing the perfect bloom. 

The Melbourne Orchid spectacular is an annual event that allows local growers to strut their stuff. A photographic and painting exhibition is run in conjunction with the show, so you can participate even if you don't have a green thumb. It's also a great photographic opportunity. There's no objection to wandering around with camera and tripod snapping the prize winning blooms, but there a still challenges to overcome. The backgrounds are generally a mix of wandering patrons, other flowers and various parts of the hangar like building which houses the show. Not ideal for showing the orchids at their best in a photo (nothing a little Photoshop can't overcome...), but it's not often you get a chance to shoot such an array of amazing flowers.

Tech Talk
The Zuiko Digital 50mm f2 macro is one of the original lenses introduced as part of the Four Thirds system, and is widely acknowledged as one of the sharpest lenses in the system. While it's a bit slow to autofocus, the images it produces, either as a macro or short portrait lens, can be spectacular. The greatest strength of Four Thirds has always been the glass, and this little prime is one of the stars.

Olympus E-5, Zuiko Digital 50mm f2 macro, tripod, cable release.

No more stamps /  by Mario Mirabile

Melbourne's GPO - the General Post Office - was once located in the beautiful Victorian era sandstone building at the corner of Bourke and Elizabeth streets. Built in an era when form mattered as much as function in public buildings, it was quite an experience to queue for a stamp in the cavernous and ornate postal hall.The post office has since moved to a soulless modern building just up the road, and the old structure now houses up-market boutiques and eateries.

It was long considered the centre of Melbourne, and in fact all roadside mile posts were measured from the GPO. It was always a prominent landmark and popular meeting place, and that hasn't changed, despite its new function. The plinths of its many columns, and its broad steps provide welcome resting places for locals and travelers alike. And it's not too far to walk if you still need a stamp. 

Tech Talk
Not a lot going on here. Some simple shots with some of my older, but still eminently capable gear - the Olympus E-30 and Zuiko Digital 14-54mm f2.8-3.5.

All aboard /  by Mario Mirabile

It was a perfect day for our lunchtime photo walk – sunny and balmy. The only problem was I had no idea what to set for a topic. I dismissed a couple of suggestions which I thought would be too hard in the time available, and was still struggling to come up with something as we left the building. I decided we'd just jump on the first train leaving Southern Cross Station regardless of destination (this is probably not a bad idea for a future trip as well),  and hope for inspiration. It was headed for Flinders Street Station, and as it pulled out I decided on "arches" as a topic, something of which Flinders street has plenty.

We arrived at Flinders street and descended into the subway which connects the platforms. We were wandering around snapping when we were bailed up by an employee and asked - not unkindly - if we had permits. Protesting our ignorance of this requirement, we were directed to the Station Master's office to obtain this important accreditation. With permit and visitors passes in our possession, we strode around like we owned the place. Flinders Street station is full of possibilities, and as the permit is valid for 60 days, I'm sure I'll be back to explore the myriad nooks and crannies further

Tech Talk
Still using the E-3-0 DSLR which has become my walk around camera. on this occasion I swapped out the 12-60mm for the Zuiko Digital 14-54mm f2.8-3.5. This lens was my first upgrade when I got into the Olympus E System,and although its range is fully encompassed by the 12-60mm, I've kept it around. It's smaller, but very nearly as sharp, and my ring flash bayonets straight on to the lens cap mount. A nice little all round performer.

Up and down /  by Mario Mirabile

I wish I had more flexibility in getting to interesting places to take pictures. Work and other commitments mean that sometimes you just have to look around more carefully for interesting subjects. Sometimes all it takes is raising or lowering your eyes. Interesting objects, shapes and patterns can be at your feet or over your head. And don't expect that just because there was nothing to catch your eye in a place one day, that the same place may not offer better prospects at  other times. Patterns of light change with the sun, the wind can sculpt a dandelion and clouds turn a flat blue sky into a sculpted art.

If you can't get to Venice or Uluru today, then look up, look down or look around. Just look.

Tech Talk
The Olympus E-30 and Zuiko Digital 12-60 f2.4-5 have been a fixture in my work bag of late. A versatile and reasonably compact walk around combo, the 12-60mm even has decent close-focus capabilities.