Trilled by the opportunity to guest-post on DearSusan.net [https://bit.ly/2MggpO1]. Photo above unrelated.
Continue to revel in the moment. Particular camera and lens in use at the time being of no consequence whatsoever.
​Incredible.

We took the 7AM ferry out to and island off the coast of Maine over the weekend.

Monhegan has long been known as an artist enclave. Wyeths painted out here, and I think Andrew still owns a portion of Manana Is right across the way [4th photo].

​Rockwell Kent made a very successful series of paintings of the island just after the turn of the last century, after which he painted Mt Monadnock which I used to see out my bedroom window in New Hampshire.

Making our trip so early in the season was a boon. Cool breezes and few tourists made for a very relaxing day.

Got word that the local visitors bureau has selected one of my images for the cover of this year's guide. So honored to be able to contribute. This area is indeed a very popular tourist area, as is much of coastal Maine. [Funny how much of a thread that is in my life and the places I've lived, come to think of it.] Looking forward to seeing the guide in all the little stores we frequent. Not sure I'm ready for the instant fame and adulation, but I'll do my best to adjust. ;)

Walking through Arlington National Cemetery in Virginia is a very sobering experience. Such valor and sacrifice. 

Photo courtesy: maineschooners.com

Welcome to Wedding Season, 2018!

Yes, first wedding of the season is coming up soon, and it presents some unique challenges. It's very small...'intimate' as we say in the trade. Also it's on the water. On a sailboat. And not the largest boat I've ever been on either. A boat quite a bit smaller than the one I lived on years ago actually. This will put a rare combination of constraints on how I'll be able to work, and what equipment will be best suited.

I'll certainly pack just the backpack. There will be no room for the Tenba roller bag with a second set of everything.. Figure a DSLR body with two zooms [20-35mm f2.8 and 24-105mm f4 should do it], flash, tripod [for some sunset moving water shots], and a backup Leica zoom compact.

I'm making notes too. Reminding myself to reconfigure the camera's auto-focus from my landscape preferences to either a more agile multi-spot pattern or probably just back-button, fixed ISO to be sure the settings I choose get the expected results...stuff like that. Maybe some dual card writing. Never really bothered with that, but with one body and a short shooting window maybe this time. Oh, I know, maybe write the second file as a .jpg? Always wanted to see how convenient those files would be. [update: wow, now I see why I shoot RAW. JPG files are rendered, truly, awful once you touch them.]

Above is a photo of the actual wedding venue. Photo not by me, this will be my first time seeing her. Handsome boat, no doubt. But there's not a lot of deck space, and what there is will have sails and booms sweeping back and forth. The cockpit is nice, but small on boat of this size. At least there's a wheel and not a tiller to contend with.

Clearly, where ever the wedding party is, deck or cockpit, will dictate where I am...the other one. Will I be crouched under the mast but safe standing deep in the cockpit, or will I be out on the foredeck or poop-deck, one hand on a shroud, shooting around the mast or the captain with the other? 

Remains to be seen. There will be no rehearsal under sail for me on this. One thing for sure is I'll have a strap on every piece of gear for this shoot. Good that I've a lot of time on boats. And, this is a great excuse not to dress up in a monkey suit this time. Boat shoes and khakis will have to do!

The image above was taken with a compact, zoom lens camera. More on that below, but the point is that while the camera was set at 24mm-e, the physical focal length used was 10.9mm. It would have been amazing to see this amount of fall off in focus towards the background at 24mm on a full-frame camera to be honest, but at about 11mm it's astounding, and what there is works very well to give some separation of the subject. I'm sure I've shared this shot before, but it's a good illustration of what a fast zoom can still do for you, even at a wide setting and on a small sensor.

When using a DSLR or a compact camera that has interchangeable lenses one has the choice of employing prime [fixed focal length] or zoom [variable focal length] lenses. Since migrating from film to digital I have done a 180 degree turn from shooting almost exclusively with primes to almost always carrying zoom lenses.

Now that modern zooms are as sharp at all focal lengths than many primes of the film era the reasons for this are obviously convenience...carrying fewer lenses and switching them less often is certainly easier. And in fact, I don't tend to think of zooms as infinitely variable across their respective ranges, but rather as two or three lenses in one. A 24~105 zoom to me is a 24mm, 35mm, 85mm, and 105mm lens...my favorite focal lengths. All zooms are clearly marked on the barrel with common focal lengths, but I sure wish it was common to put subtle detents or clicks at each setting as well. There's no reason a photo has to be shot at exactly, say, 35mm instead of 33mm or 37, but I'd sure like to have that ability.

One feature I like on the Leica Typ 109 compact camera, which took the photo above, is that the software can be set to automatically come to rest on the next 'standard' focal length each time the zoom ring is bumped up or down. A quick flick will send the lens from 24mm to 28mm and so on. And, the camera can be set to return to the previously used focal length every time it's turned on...while many compacts revert to the widest setting on power up. Both very nice features.

And speaking of Leica again, what I'd REALLY like to see come back is the notion of 'step zoom' lenses such as the Tri-Elmars made for M-series cameras. There were two models I believe...a wide angle version with 16mm, 18mm, and 21mm settings, and then a more medium angle model that covered 28mm, 35mm, and 50mm. I'd actually always thought of them as 'old' designs...M3 era or so, but apparently the medium range version was produced into the 2000's, and the wider one may still be in the Leica catalog.

​Anyway, the idea was that these lenses would be optimized [and reportedly super sharp] at three different discrete focal lengths, and the user turned a ring to click into their desired setting instead of 'zooming' around in between them. I'd love to pick up a modern M body and one of these lenses to see if the combo is as spectacular as my imagination predicts, but both items are simply too dear to consider. [and, it's possible that these film-era designs do not perform as well with digital sensors as with film...often the case with wider lenses.]

Just imagine what modern lens designers could do with this concept today. I'm not a lens designer of course, and perhaps the advantages of this type of design over a full zoom range aren't as great as I imagine. But I'd like to think that a 20-35-50-85mm lens of this type could be smaller and sharper, or alternatively faster while staying sharp, than existing zoom lenses. Maximum aperture is really my only complaint about modern zooms. F2.8 is the fasted zoom you'll commonly see, and most are f4 or slower. Ugh.

Until this fantasy comes to pass I'll continue to be very happy with the f1.7 max on the Typ 109 I talked about earlier. Yes, it slows to f2.8 on the long end, and yes it's M4/3, so the physical focal lengths are really short [which makes shallow depth of field/subject separation a challenge], but low light performance is great and the whole package is tiny. 

/end rant

Spring is always a celebration in Maine. Ice-out on the lakes, buds on the trees, fire pit in the yard. Joyous.

The long*, hot** days of summer are almost upon us here in Maine. Yay!

*Well, summer lasts about 3 months at best...but the days are longer. Early sunrise, late sunset. We'll take it.
**By 'hot' I'd have to grant that we consider >80F to be hot, and anything higher for more than a few hours to be extraordinary. Or at least until a few years ago we would have. Back in the day we had feet and yards of snow too. Now our snowfalls are trending lower and our summer temps higher. So, new normal with our weather just like our politics. Ouch.

For the uninitiated, 'GAS' stands for Gear Acquisition Syndrome...a well recognized misapprehension that the next lens, camera, light, you name it, will elevate your work to transcendence [or Avedon-cendence or Adams-cendence...etc.]

It's all too easy to fall prey to GAS...especially during the dark days of winter when more time is spent indoors thinking about shooting and comparing your work to others than actually using the equipment you have. And, to be fair, it's also well understood that a new piece of kit actually *can* give a photographer the much needed swift kick in the pants to get out and shoot!

As I've stated in past posts I have finally, pretty much*, come to the realization that *equipment* does not have any real affect on the quality of our work. All that really matters is 'f8 and be there'. You simply have to have a camera in hand, and the knowledge and ability to pre-visualize what you want to create and create it.

So imagine my chagrin today when I found myself considering the purchase of another lens. A lens I've owned previously and sold. A lens who's focal length lies inside the focal range of a number...well two...other lenses I still own. Imagine.

Above are two images taken on the same piece of land with the same camera in the same year. One was shot with a Voigtländer Color Skopar 20mm f3.5 SL II manual focus lens, the other with a Canon 20-35mm f2.8L. The Canon lens was introduced in 1989 and the Voigt's design has got to be at least that old. The Canon is long discontinued and was never recognized in LR. The Voigt, while still available is also not profiled in LR.

The only reason that I still own more than own more than one lens in this focal range is that I purchased the sharp new Canon 16~35 f4L for a job the other year, and have yet to let it go...mainly because the other, the aforementioned 20~35mm, is out of support and cannot be repaired should anything go wrong.

But here's the question...can you tell which is which? And I don't mean 'is one better than the other?', I mean does one have a different 'feel'...more dimensionality...more personality? Is there any reason to own either of these unusual lenses, let alone both, for the way I shoot?

Years ago I went so far down the road with prime, manual focus, 'personality' glass as to flirt with madness [well, drove myself nuts is more accurate]...and have since clawed my way back out. At this stage of my photographic journey I absolutely love having just a very few lenses and then making he most of them. I truly believe that gear has practically nothing to do wiht your success as an artist.

*But, every now and again, an old piece of German glass comes calling...

[The Canon is on the left]
[Yes, I know the Voigt is made by Cosina in Japan...but so are Leica lenses, so give me this one.]

Beautiful country, wonderful people. The world is an amazing place.