Surfs up /  by Mario Mirabile

I've taken photos at the footy before, but I'm yet to have sports editors beating a path to my door looking to hire me as a result. I'll be the first to admit that my skills and equipment aren't up to pro standards, but there's more to it than just that. It's also a matter of access and position. The pictures I take from the front row of the second level at the MCG just can’t compete with shots taken from inside the fence. Even when you can get close to the action at a suburban event, a background of parked cars, houses and the odd lonely spectator can't compete with a crowd blown out of focus by a 400mm f2.8 lens on a full frame body.

I've taken surfing photos once before. On those occasions I was at Bells Beach with an overseas visitor and couldn't resist snapping the surfers at that famous break. Looking back, they were nothing to write home about, but at the time (early in my digital renaissance) I was quite pleased with the result. The main problem was that I was too far away, and my cliff top viewpoint was too straight -on to the action.

I had another opportunity during our recent stay at Port Fairy. Not a renowned surf spot, but the favourable conditions provided by a northerly the day after we arrived had had a few riders in the water. My early shots at the break in front of our house were hampered by the fact that I needed my 2x tele-converter to get close to the action. Later that day, I found another spot further down the coast where the waved were breaking closer to the shore. As a bonus, by clambering over the volcanic boulders strewn over the shore, I was able to get to a point where the waves were actually breaking past me. From this superior vantage point, I was able to get some much more interesting shots. As I said, positioning is the key.

Not that the surfing magazines will be looking to hire me. These days you actually have to be in the water getting shots if you want to be noticed. Still, it's a big step up from shooting from the cliff tops.

Tech Talk
Everything was shot with my 50-200mm. A couple with the EC20 2x tele-converter, but the others all with the lens on its own. There a noticeable drop in sharpness with the converter fitted, but it's acceptable for images at this resolution. It's actually quite a nice optic, and, contrary to conventional wisdom,  I think it is better optically than the EC14 1.4x converter. The real problem witt it (other than losing two stops of light) is that when you use it to bring really distant objects closer, atmospheric dust and heat haze can ruin image clarity and sharpness.

Olymous E-5, Zuiko Digital 50-200mm f2.8-3.5, Zuiko Digital EC20  2x tele converter.

Falling /  by Mario Mirabile

You can gauge the popularity of an attraction by the size of the car park associated with it. MacKenzie Falls, in the Grampians near Halls Gap, has a BIG car park. Even so, on my first attempt to visit it, we drove around for a few minutes before abandoning our search for a vacant spot. It wasn't just the lack of parking that turned us away though. We could have persisted and found somewhere to dump the car, but nothing detracts from the natural beauty of a spot more than hordes of tourists. Naturally, I don’t count myself as a tourist – I’m only there for the sake of art.

Returning at 7:00 AM the next morning we were greeted by the wonderful sight of an empty car park. MacKenzie Falls is no Niagara, but it is Victoria’s biggest waterfall and flows year round. From the comfort of the viewing platform at the top, you can gaze into the gorge which is more than 100 metres deep. But that wasn't what we’d come for. A steep, well made track leads you past several cascades, the biggest and last of which is pictured here. The trip down was pleasant enough, but it’s the return climb which gets you. Well worth the effort, although I wasn't so sure at the time.

Tech Talk
I managed to forget to pack even a polarizer for this trip. It would have been nice to be able to get a slower shutter speed on these shots to get more of that “milky” flowing water effect. It’s an effect which may have been done to death, but that’s only so because it’s quite pleasing.

However, even at 1/6 of a second or so, there’s enough blur in the fast moving water to give a sense of motion while leaving enough sharpness to hint at the power of the cascade. In any case, the second shot was taken with my 7-14mm, which can’t use filters due to its large and protruding front element.

Go wild /  by Mario Mirabile

I don’t often go to zoos. I know that modern zoos do great work in conservation and captive breeding programs for endangered species, but I don’t find animals in captivity great entertainment as a rule. Nevertheless, on the Halls Gap trip the general consensus was that a visit to the local zoo was in order, so I tagged along.

It’s probably not one of the world’s great zoos, but it still houses a curious mixture of creatures, both native and exotic. It makes you wonder how they all managed to come together in this small country town. Some of the enclosures seemed a bit cramped, but for the most part the animals seemed to be sensitively accommodated, although not necessarily in a manner designed to help photographers. My back was playing up, so I didn’t get around the whole of the grounds and may have missed some highlights, but I still managed to trap a few wild moments I’m happy with.

Up early again /  by Mario Mirabile

It’s the first time in over a year that I’ve been out of the city for more than a couple of days. I’s quite liberating not having to get up to go to work or deal with regular day to day issues. After a long weekend in Halls Gap in central Victoria, I’m based in Port Fairy in the state’s southwest for 10 days. I have no particular itinerary and plan to take each day as it comes.

The Halls Gap excursion was an annual camera club field trip that takes us all over the state.  Looking back, I find it curious that despite regularly being a great social success, there have been surprisingly few standout photos come out of the trips. I suppose it just goes to show that you can’t force a great picture.

Despite not having to rise early for work, the lure of sunrise and mist was enough to drag me out of bed one cold morning at Halls Gap. I got a couple of pleasing panoramas before the light and mist dissipated, leaving me with near frost-bitten fingers. I’m yet to kick off the covers before dawn at Port Fairy, but I’m sure I’ll manage at least once.

Tech Talk
Even if you’re familiar with the control layout of your camera, it’s still a tricky business doing it in the dark. It doesn’t help if you have frozen fingers and have forgotten to bring along the torch you took great care to pack. Another tricky ting is getting accurate focus. Even the best modern autofocus systems need light to work, and manual focus won’t help if you can’t see your target. Fortunately the trees in the middle distance of these pictures managed to provide some contract once the sky started to lighten, but even so a couple of panorama sequences weren’t sharp. I did manage to get a couple of pleasing sequences, but I wish the farmer who owns these fields had the foresight to build a dam or put a few haystacks in the foreground.

Olympus E-5, Zuiko Digital 12-60mm f2.8-4, Zuiko Digital 50-200mm f2.8-3.5

Going wide /  by Mario Mirabile

I really need to get my 7-14mm ultra wide zoom out more. Every time I use it, I continue to be amazed at it's possibilities. It's not really a lens for photographing people, but there are times when the odd distortion provided by this type of lens creates emphasizes the personality of the subject.

Harold is a street performer with a huge personality. I guess you'd call him a break dancer, and his acrobatic gyrations are a blast to watch. When I asked if I could phonograph him, he was happy to oblige and put on a show just for me. The ultra wide angle of view and depth of field offered by the 7-14mm meant I could stick the camera within inches of his face and still get the shot, The only downside was a bit of a kick in the head, but it was gentle enough that no harm, was done.

On another note, this post marks my 100th blog entry and nearly a year to the day since the first. It's been an interesting journey, and one I think I'll persevere with. Despite the fact that I've been pretty busy with real life for the past few months and my output has suffered, I'm still enjoying the challenge. I'd like to thank the hundreds of visitors who've dropped in and offered encouragement and support. I hope you've enjoyed my work as much as I've enjoyed presenting it.

Sublime /  by Mario Mirabile

An ultra-wide angle lens wouldn't normally be my choice of optic for photographing a pretty young woman. However, when she is performing in a stunning space which lends itself to the ultra-wide perspective, it's hard to resist the temptation.

I've waxed lyrical about the Block Arcade before.The central domed atrium is a great place to shoot and, in my book at least, the wider the better. Camille Hermans was performing there on a Saturday afternoon when I was on a walk with some visiting photographers from Echuca. She has a wonderful voice and great presence, and immediately drew our attention. Despite the distorted perspective offered by an  ultra-wide lens when it is tilted away from the horizontal, I fired away. It's not necessarily the most flattering perspective for Camille, but it gives a great sense of the space she was performing in.

If you're reading this Camille, I promise to use a more flattering lens if I ever have the chance to photograph you again.

Tech Talk
I really can't praise the Zuiko Digital 7-14mm f4 enough.With a 14-28mm equivalent field of view, it has a focal length shorter than many fisheyes. Despite this, it offers a rectilinear perspective -straight lines stay straight. You get the usual wide angle stretching in the corners, and some edge chromatic aberration on high contrast transitions, but it's wonderfully sharp and well corrected for distortion. The downside is it's big and heavy with a bulging front element, and can flare in direct sunlight, but I wouldn't trade it for anything - except perhaps the equivalent Micro Four-Thirds lens id I ever switch to that format.

Olympus E-5, Zuiko Digital 7-14mm f4 .

Is it love? /  by Mario Mirabile

Love is a wonderful thing, to be sure. But exactly what is it, photographically speaking? That is the challenge for the current monthly competition at my camera club, and for once I didn't relish the challenge. I had all year to think it over. I had all sorts of ideas, mostly having something to do with smooching couples, but they didn't eventuate. As the deadline approached, I found myself trawling old image looking for something I could use. I'm usually loathe to do this, as  using our monthly set subjects as new challenges is one way I have of keeping me exercising my shutter finger. In the end, I settled on something old (well, sort of) and something totally new.

The old is something close to my heart, and something I've posted here before. Catman - Troy West in real life - embodies one of the loves of my life.  Troy is one of the most ardent lovers of my football team, the Geelong Cats. I doubt I could ever express my love the same way he does, but I'm glad he has the courage to do so. The new is Jippa, a friend's jack Russel terrier. This is a shot I've been tossing around for months, and came together over a few drinks last week. Jippa is a cutie, but her attention span is limited. Her "mum" Miriam was very patient and co-operative, but in the end I thing I agree with the old show biz maxim "never work with children or animals".

So, is this love? I hope our next judge thinks so.

Tech Talk
Catman was a quick grab outside the MCG before a big game earlier this year. Jippa, on the other hand was a full production with light stands, strobes and umbrellas. A two light setup, one from above & slightly behind, and the other pretty much front on. It's good to have an excuse to drag the lighting gear out occasionally.

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

Bycatch /  by Mario Mirabile

Bycatch is a commercial fishing term used to describe fish caught when you are primarily fishing for another species. Not being a commercial fisherman, I can't say for sure whether it's always considered a bad thing, or whether it depends on the fish. In my case, I'm glad this particular bycatch got entangled in my nets.

I was having trouble getting into the swing of things the day we visited the Steamrail Victoria workshops. I eventually came up with some shots I liked, but it took a while to find the right iron.Fortunately, a band were filming a clip for their latest release on the same day. Several members of the cast and crew immediately caught my attention, and the ones I asked were kind enough to pose for a few shots. Sarah and Prosper helped add a lot of interest to my train fishing, and I definitely wasn't going to throw them back.

And the band? You can check out The Peep Tempel's latest track - curiously enough titled "Big Fish" - on YouTube at https://www.youtube.com/watch?v=z2nGYcvf9TU .

Tech Talk
Dim light was the order of the day for Sarah's shots. Fortunately she had the professionalism to hold still long enough for the slow shutter speeds required. She has lots of presence and was fun to work with.

Prosper is a real character and has clearly done some modelling as he immediately struck some typical modelling poses. However, I much prefer the shots between poses when he relaxed and let his winning smile take over.

Olympus E-5, Zuiko Digital 12-60mm f2.8-4 SWD.

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.