Category Archives: Photography

The World’s Worst Panorama 2023

The World's Worst Panorama 2023
Camera: SONY DSC-RX100M7 | Date: 22-02-2023 19:49 | Resolution: 24420 x 2802 | ISO: 1250 | Exp. bias: -0.7 EV | Exp. Time: 1/30s | Aperture: 4.5 | Focal Length: 9.0mm (~24.0mm)

Here’s my “group panorama” from Richard Bernabe’s Feb 2023 trip to Patagonia.

From the left: Gero, Nigel, Thomas, Karsten, Jörn, Lisa, Richard, Alejandro, Glenn, Alex, John, Pat, Yours Truly and JoAnne.

Please don’t study the stitching too carefully, or complain about the fact that Ale has become a hobbit – this is much, much easier on a round or square table than a very, very long thin one!

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This is Really Scary…

A photo of a guanaco on a paddle board on a lake in front of the Torres del Paine mountains (courtesy of Dall-E)

This morning’s subject was a “guanaco hunt”, capturing one or more of the charming Patagonia llamas in a nice pose, ideally in front of a mountain or similar.

Over lunch, as beer was consumed, we got talking about how we could improve the images we had captured. Looking at the wonderful view from the restaurant, I came up with the idea of a guanaco on a paddle board in front of the mountains.

Always up for a challenge I had my first go with Dall-E, the AI image generator. I gave it this simple prompt: “A photo of a guanaco on a paddle board on a lake in front of the Torres del Paine mountains”. Two of the four images it created were unusable, but the first was OK, the third was exactly what I had in mind. OK the guanaco’s legs are a bit odd, but the concept has been correctly interpreted and executed, and that’s the difficult part.

It really shouldn’t be that easy. Be afraid, be very afraid!

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Meet the FrankenTripod

The FrankenTripod
Camera: Panasonic DC-G9 | Date: 27-12-2021 10:30 | Resolution: 2774 x 3698 | ISO: 1600 | Exp. bias: 0 EV | Exp. Time: 1/6s | Aperture: 7.1 | Focal Length: 13.0mm | Lens: LUMIX G VARIO 12-35/F2.8

Is this the perfect travel tripod for the man who doesn’t actually like carrying a tripod? Legs from a 45 year old Slik 500g. New head from Manfrotto – lightest in the range. I did have to cut off the old head, and mount a new screw adapter which meant a bit of work for the tap and die set, but total weight is 675g and it fits neatly into the side pocket of the new bag!

OK, I wouldn’t use this with a Canon 5D and 600mm lens, but for my Panasonic G9 it’s about perfect. Now, about all that money I’ve donated to Messrs Gitzo and Manfrotto over the years since I bought the Slik…

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Cool Cab – Hold It Right There!

Cool Cab Unshaken!
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 17-11-2010 23:43 | Resolution: 5407 x 3041 | ISO: 1600 | Exp. bias: -1/3 EV | Exp. Time: 1/6s | Aperture: 10.0 | Focal Length: 15.0mm (~24.3mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

I continue to be blown away by what modern AI-powered processing tools can do with early digital photos. This photo was taken from the back of a very jittery 1950s Ford Consul, by someone unfamiliar with my camera, in fading light which meant a 1/6s exposure time but still a high ISO. The result was a decent memory shot of an entertaining ride in an ancient Cuban cab, but it was a bit shaky, to say the least.

Cool Cab – Shaken but not stirred! (Show Details)

Mainly for my amusement I decided to see what would happen using the latest tools. First I re-processed the original RAW file with Capture One, to adjust the aspect ratio, lift the shadows and fix the blown highlights. Then I fed it through Topaz Sharpen AI in Stabilise mode, to reduce the effects of camera, photographer and platform (1950s Ford Console) shake. This produced an image which was much sharper, but a bit noisy. Finally I passed that image through Topaz Denoise AI, with a relatively low noise reduction setting (just 15%) but moderate sharpening. That seemed to be the best compromise to retain the original textures but remove the noise.

The result is above. It’s not only removed the blurring of my face & glasses, but also sharpened the lines of the scenery passing and the rain on the windscreen. I think it keeps the feel of the original, but is a bit less apologetic. What do you think?

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Multi-shot Photography: Alive and Clicking

Sunrise lighting the rocks at Combestone Tor. Panorama from 4 exposures
Camera: Panasonic DC-G9 | Date: 04-11-2020 07:28 | Resolution: 13833 x 3717 | ISO: 400 | Exp. bias: 0 EV | Exp. Time: 1/50s | Aperture: 8.0 | Focal Length: 21.0mm | Location: Combestone Tor | State/Province: Holne, Devon, England | See map

When I first made the transition to digital photography, I got into several forms of multi-shot photography, techniques where you take two or more independent exposures and combine them to get a result not possible with a single frame. As cameras and processing have improved I have sometimes questioned whether these techniques are still required, but after a recent trip to Dartmoor I’ve come to the conclusion that they very much are, and they still suit my style of photography well.

All these images were taken in a single session at a single location: Combestone Tor.

Panoramas

Combestone Tor: panorama from 4 images (Show Details)

Let’s start with a non-controversial one. Sometimes a scene is wider than your lens, and the subject matter suits an image with an aspect ratio of 2:1 or more. The simple solution is to take multiple shots, rotating the camera between shots, and then join them together after processing. There are few workable alternatives for a high-quality image. You might get enough of the image into one frame with a really wide lens, but my widest lens is 14mm equivalent and I find that it is still not wide enough for a genuine panorama, plus it introduces a number of distortions which are not present in a good multi-shot panorama merging shots taken with a lens somewhere between 28mm and 50mm equivalent. You could use your phone in panorama mode, or a 360 degree camera like the Ricoh Theta, but that’s a compromise on quality. You could go the whole hog and get a dedicated panoramic camera like the Hasselblad XPan, but that’s an expensive film-based option, and means carrying a large piece of “single purpose” kit. None of this is necessary if you have a DSLR or mirrorless camera, or even a point and shoot as long as it has manual exposure control.

There’s a bit of technique required. Firstly you have to either select a scene with little/no movement, or you have to choose a shutter speed and shooting strategy so that moving objects are either blurred consistently (e.g. moving water) or excluded from the overlaps between images (e.g. people). You have to select a manual, fixed exposure and white balance which will work across the image, so check that it won’t be over-exposed at the brightest point, or too far underexposed at the darkest. The exposures need to be made in a controlled sequence (e.g. left to right), making sure that they have sufficient overlap, are level, and have some room to crop at the top and bottom beyond the desired subject matter. All of this is easy using an “advanced amateur” camera like the Panasonic G9 which has a level and shooting guides built into the EVF display, but benefits from practice. If the subject is all at least 3m away there’s no need to worry too much about “rotating around the optical centre” and you can just either twist your body (if working handheld) or rotate the camera on top of the tripod. (Both the panoramas in this article were taken handheld.)
If you do want to include much closer elements then you need to counter the effects of parallax (near objects moving relative to the background between frames). As always there are all sorts of complex, over-the top “perfect” solutions, but I’ve found a very simple yet reliable one: I have a plate about 6” long with a tripod screw hole at one end, and a slot with a 1/4” screw (the same size as a standard tripod fixing) at the other. I mount the camera with the tripod attached to the plate’s screw hole, and the camera attached to the other end of the plate so that the front lens element is positioned roughly over the centre of the tripod. Rotate the tripod head and the camera rotates around its optical centre. This approximate method is good enough to eliminate parallax issues in all but the most extreme cases.

There are a number of options for processing the images. I process the RAW files in Capture One, making sure I apply the same exposure and colour corrections to all frames, and also ensuring that the images are not cropped at all at this stage (Capture One’s Copy and Apply Adjustments functions work perfectly for this). I then drop the developed JPEG files into Autopano Giga to create the finished panoramas. Autopano does a pretty good job of automating most steps, but you have full control including a range of different projections for the panorama if needed.

 

HDR

Sunrise over Coomestone Tor (Show Details)

There seem to be four schools of thought regarding multi-shot HDR…

“You can get any shot using ND grad filters if you know how to use them properly”. This is complete rubbish. Now I have no desire to diss generations of hard-working landscape photographers who have done their best with the available tools, and there are many great photographs taken with ND grad filters which I truly admire. However the reality is that this is a painstaking, static method and unless there’s a pretty straight horizon between the areas of different lighting there are going to be major compromises. Look for mountains with the top much darker than the bottom, or trees and rocks arranged against others when breaking the horizon would be a much more dramatic composition.

“With modern cameras and processing there’s no longer any need for HDR”. This is partially true. With the increased dynamic range of modern sensors, and better highlight and shadow recovery, you may be able to get much of the same result from a single frame. The following is my attempt to re-create the image above but from a single original. There’s a trade-off: the single image version is likely to be sharper and look more “natural”, the HDR version may be more dramatic. There are also hard limits: no single image will capture a dark interior with a well-lit scene outside the window.

Sunrise over Combestone Tor. Single exposure version. (Show Details)

“If you can’t get an image using the first two methods it’s not worth taking.” Pure, unadulterated snobbery. There’s a closely related version “I like to get things in one shot rather than messing around on the computer”. By all means choose not to take such an image, but accept that doing so is a limitation of your technique, and may disbar you from getting a great image.

“HDR still has a role to play, but needs to be used carefully and appropriately”. Absolutely correct. With a modern camera and processing software it’s an easily-accessible tool which you can use when it’s useful to do so. If you have a way to set up your camera to take a high speed exposure bracketed sequence you have the best of both worlds – develop a single frame, or use several for HDR, or both, and make the choice at your leisure after the shoot.

Like any multi-shot technique you need to pay attention to any moving elements, and you also need to check the shutter speed on the slowest frames. I can usually take HDR brackets hand-held, but the slowest frame for the image above was 1s, and I did need my tripod!

There are numerous options for developing such images. My solution is to develop the RAW files in Capture One, applying any desired crop and with the option to further tweak the exposure per frame if required, and then combine the JPEGs in Photomatix Pro.

 

Focus Stacking

Detail in depth: focus blend from 6 exposures (Show Details)

Just as a single image may not be able to capture the breadth of a scene, it may not be able to capture it’s depth, at least not all in focus. To get a close-up object and those further away all sharply focused then you have to use a smaller aperture, but you may hit the limits of your equipment, or simple physics. The effects of diffraction become noticeable above about f/6.5 for a 20MP micro-four thirds camera, and above about f/8 for a 50MP full-frame camera.

At this point you can choose to ignore the softness of the more distant elements, you can increase the f-number further and accept some loss of overall sharpness, or you can use a larger aperture and throw the more distant elements deliberately out of focus. These are all valid artistic choices, but they are work-arounds, not resolutions.

However if you’re in an environment which supports multi-shot photography there’s a further option: take a set of images bracketed at different focal distances, and use focus stacking software to combine them.
The usual multi-shot constraints apply, especially in respect of any moving elements. Where panorama and HDR software tend to be able to deal with “ghosts” (items which only appear in one frame, or move between frames), focus stacking software is less able to do so. Unless you’re a very steady photographer getting a suitable set of images may demand the use of a tripod, although I now get fairly reliable results hand-held with the Panasonic G9’s high-speed focus bracket mode.

The gold standard for focus stacking software is probably Helicon Focus, which works well with Capture One or similar for the initial image development.

3D

If you have the ability to display 3D images, such as a 3D TV, then this is a very rewarding type of multi-shot photography. To my annoyance I didn’t take any 3D photos on Dartmoor, I just wasn’t in that zone for some reason, but I have written about how I create 3D images at length here.

If you work with a single camera the usual constraints apply to moving elements. You can take these constraints away if you have two cameras with the same sensor and lens – simply mount them side by side with identical settings and trigger both simultaneously – but the single-camera method is probably easier.

 

Image Stacking

This is a technique I use less often, but there are valid cases for it. The idea is simply to take a number of “near identical” frames over a period of time (tripod and some form of automated shutter release required for this one!), and combine them. There are two very different objectives:

  • Removing moving objects from the scene. For example you can take a number of frames each of which has other people in it in different places, but combine them so the net image has none.
  • Combining the elements which have changed between the images. The best known application of this form is star trails, like here.

How you take and combine the frames will depend on your objectives for the overall image, and I’m not an expert, but when I have used this technique I’ve found plenty of guidance and solutions online.

 

Setting Up Your Camera

You can use just about any digital camera with a reasonable level of manual control for any of these techniques. Just make sure the exposure is under your manual control, and either consistent across the frames (for panoramas, focus stacking, 3D and image stacking) or varied in a predictable way (for HDR). However more recent cameras in the “advanced amateur or professional” class tend to have a number of features which make things very much easier. The Panasonic G9 is a good example.

It’s very much easier if you can program good default settings for each technique as a custom mode on your camera. On the G9 everything except the frame rate and auto/manual focus can be set in a custom mode, and, intelligently, Panasonic enable high frame rate when you select a bracketed mode, even if the switch is on “single shot”. Here’s how I set up my custom modes:

  • HDR

    • Aperture f/6.3
    • Auto-exposure bracketing 5 steps ± 2EV
    • ISO 200
    • Auto white balance
    • Auto exposure bracket burst mode (This enables the bracketed set to be taken quickly with one shutter depression, even if the camera is nominally in single-shot mode)
    • Standard AF & metering
    • 3:2 aspect ratio
  • Panoramas

    • Manual exposure: f/8, 1/60s (This is a starting point, the first action is to adjust it to fit the brightest part of the scene)
    • ISO 400
    • Daylight white balance
    • Level On
    • Single shot
    • Standard AF & metering
    • 4:3 aspect ratio
  • Focus Blending

    • Aperture priority: f/6.3
    • Auto ISO and white balance
    • Focus bracket mode: 5 step, 5 images, sequence 0/+ (This moves the focus from the point you select for the first image to infinity in 5 steps)
    • Low speed burst mode
    • Standard metering
    • Natural Picture Style (This is so that in my workflow I can quickly identify focus bracket sets and move them to a separate directory)
    • 4:3 aspect ratio
  • 3D

    • Aperture priority: f/7.1
    • Auto ISO and white balance
    • Single shot
    • Standard AF & metering
    • Scenery Picture Style (Again just to identify 3D pairs in my workflow)
    • 16:9 aspect ratio

If your camera doesn’t really support custom modes, and instead has explicit switches for everything, then it’s worth making a note of the starting point for each multi-shot mode rather than having to make it up as you go along. It will be a bit more work, but perfectly feasible.

Conclusions

“If you only have a hammer, everything looks like a nail.” While developing your mastery of “getting the shot in camera” is important, single-shot techniques won’t get every image, and it’s important to have other options. Specialist equipment, or the steadily increasing capabilities of phone cameras may come to the rescue, but a number of simple multi-shot techniques will work for almost any camera, anywhere, and provide you the raw material to create great images which might otherwise escape.

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Last Light: A New Dawn?

Combestone Tor
Camera: Panasonic DC-G9 | Date: 04-11-2020 07:35 | Resolution: 5182 x 3239 | ISO: 640 | Exp. bias: -33/100 EV | Exp. Time: 1/60s | Aperture: 7.1 | Focal Length: 25.0mm | Location: Combestone Tor | State/Province: Holne, Devon, England | See map | Lens: LUMIX G VARIO 12-35/F2.8

We awoke on day 2 of the Dartmoor trip to a changed world at multiple levels: news from the US election of Trump’s likely demise, and much crisper, drier weather over Dartmoor. Lee decided to return to Combestone Tor for the pre-breakfast shoot, so we could see it literally in a different light, and it was scarcely credible as the same location. We had the sun rising clear in a pale orange sky, the valleys below the tor filled with frosty fields and wisps of fog, and glorious red light on the stones as the sunlight reached them. Almost too many things to point a camera at.

Combestone Tor (Show Details)

After breakfast we took a short drive, and slightly longer walk, to the Windy Post, an old cross next to a small weir which rewards a low viewpoint and long exposures.

Windy Post Granite Cross (Show Details)

After that it was back to the hotel, which was threatening to lock the doors and barrier the car park at 4pm, to form a long convoy for the next part of the journey, to Saddle Tor. At the top of the Tor we were delighted by having a beautiful Dartmoor pony pose for us in front of the stones, and lower down we got shots of the fascinating Holywell rocks. I ate my lunch behind the rocks, with almost no-one in view for miles around, yet all the car parks were absolutely packed, with a very large number of other people having the same idea of enjoying the last good day on Dartmoor before lockdown.

Saddle Tor, and a nice Dartmoor pony! (Show Details)

The day’s last location was Bowerman’s Nose, a great outcrop which really does resemble a head and shoulders bust. The drive out was really hairy, as by then dark had fallen and at one point I had to negotiate a stretch of road at least 100m long between stone banks closer together than the walls of my garage, which set both front sensors on the car tweeting continuously. Fortunately I got out without a scrape, and in another stroke of fortune Gurinder had discovered that the Travelodge on the M5 was still taking overnight bookings for the Wednesday night, so at least I could defer the long drive back home to a very pleasant Thursday morning. Mission accomplished.

Bowerman’s Nose (Show Details)
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Last Light Before Lockdown

Brentor Church, and a rainbow!
Camera: Panasonic DC-G9 | Date: 03-11-2020 16:07 | Resolution: 11442 x 4169 | ISO: 400 | Exp. bias: 0 EV | Exp. Time: 1/60s | Aperture: 8.0 | Focal Length: 12.0mm | Location: Brentor Church | State/Province: Brentor, Devon, England | See map

After the cancellation of my Patagonia trip in March at a few days notice, and our short trip to France at 12 hours notice in July I was really hoping I could make my final attempt of the year work. The plan was to travel down on Monday 2nd, have two days photographing Dartmoor in Autumn under the expert guidance of Lee Frost, and drive back on Thursday 5th. It was therefore somewhat inevitable that on the Saturday Boris announced a national lockdown starting at midnight on the Wednesday!

Lee decided to go ahead with the course, although it became apparent that the plan to stay over Wednesday night in our hotel and travel back on the Thursday morning wasn’t going to work. For a while it looked like I’d be doing a 200 mile drive after dark on Wednesday evening, starting in the middle of Dartmoor, although fortunately we eventually found a better solution.

After an uneventful drive down, and a pleasant dinner with the others on Monday night, Tuesday dawned wet and blustery. We did manage a pre-breakfast shoot at Combestone Tor, but it wasn’t terribly edifying. The main thing I established was that my old Russian hat will keep the rain out for some time, as will my 20 year old microfibre jacket, but my new hi-tech down coat won’t! Soaked through, the latter item didn’t serve any useful purpose for the rest of the trip…

The River Webburn at Buckland Bridge
(Show Details)

After breakfast things lightened up a bit and we headed to Buckland Bridge, where the River Webburn joins the Dart. Both rivers were swollen and dramatic, there’s a beautiful old granite bridge, and there was still a lot of autumn colour in the overhanging foliage. The combination of fast-running water and still foliage demanded long exposures to slow the water’s movement, but I’d had a relatively long walk in from my parking space and had (maybe foolishly) opted not to bring my tripod! However the amazing dual image stabilisation of the Panasonic G9 and its lenses came to the rescue, and I discovered that with an ND filter on the front I could slow the exposure down to as much as 0.4s, but still get a sharp image hand-held. You judge the results.

The River Webburn at Buckland Bridge
(Show Details)

Over lunch we trekked over the moor to Nun’s Cross Farm, an abandoned farmhouse literally in the middle of nowhere. I don’t really do “dark and gloomy”, and to my mind the boarded-up building falls between two stools, neither pretty nor really ruined. It was cold, wet and muddy. Nul points! We did see the local hunt, out themselves beating the lockdown and, one suspects, some of the rules about hunting with hounds. It does have to be said that I have never seen so many mounted huntsmen be so polite and friendly, so full marks for the charm offensive.

View from Buckland Bridge
(Show Details)

We ended the day at Brentor Church, a beautiful 14th Century church with a commanding view of much of the moor. This is a great location, and I found a lot to shoot, although we were again fighting the weather. However the frequent squalls delivered an amazing sight, a full-arc rainbow (with a partial second arc), but sunlight on the church itself. Shot of the day.

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Blast from the Past

Sugar Minott, Ken Boothe, John Holt, Eric Donaldson, Pluto and Boris Gardner at the Original Barbados Vintage Reggae Concert 2003
Camera: Canon PowerShot S40 | Date: 23-03-2003 06:28 | Resolution: 2192 x 1370 | ISO: 400 | Exp. bias: 0 EV | Exp. Time: 1/60s | Aperture: 4.9 | Focal Length: 21.3mm (~103.2mm)

With my friends Bob Kiss and John Birch both busy resurrecting old photographs with new software, I thought I would have a go. To give it a real challenge, I went back to my shots from the original 2003 Barbados Vintage Reggae Festival. These were taken indoors using a 4MP Canon S40, which had a maximum usable ISO of 400 (200 was a better bet), and because I didn’t know about such things back then, I captured only JPG, not RAW.

Boris Gardner at the Original Barbados Vintage Reggae Concert 2003 (Show Details)

However, Topaz Denoise AI has worked its magic, and I’m very pleased with these.

John Holt at the Original Barbados Vintage Reggae Concert 2003 (Show Details)

And yes, that is Sugar Minott, Ken Boothe, John Holt, Eric Donaldson, Pluto and Boris Gardner all onstage together at the end! The very best wishes to those still with us, and may those who have sadly departed this sphere rest happily, but hopefully not too quietly, in peace.

John Holt at the Original Barbados Vintage Reggae Concert 2003 (Show Details)
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What’s My Favourite Micro 4/3 Lens?

Burmese girl on Lake Inle
Camera: Panasonic DMC-GX8 | Date: 17-02-2017 16:47 | Resolution: 3124 x 3124 | ISO: 320 | Exp. bias: 0 EV | Exp. Time: 1/500s | Aperture: 6.3 | Focal Length: 193.0mm | Location: Burmese girl on Lake Inle | State/Province: Ngapegyaung, Shan | See map | Lens: LUMIX G VARIO 100-300/F4.0-5.6

Over at The Online Photographer Mike Johnston posed a question about favourite Micro 4/3 lenses. The obvious answer is the 12-35mm f/2.8. I bought one several years ago largely off the back of Mike’s original review, it sits by default on my G9, and perhaps 90% of my photography by shot count uses it. As he said, it’s like having multiple high-quality primes in one small tube. By any practical definition, that’s my favourite.

I supplement it with the matching 35-100mm (same thing, just longer), the 100-300mm (capable of serious papp-ing, but also of some subtlety – see above, shot between two boats at 600mm-e),and sometimes the 7-14mm (although that gets very limited use given the 12-35mm is so good at 12mm). Together with the G9 that’s my “serious / obvious / heavy” kit. (Note that “heavy” is relative, the four zooms weigh a total of 1477g.)

However, maybe the 12-35mm is a lazy choice…

I also have a second kit, the “social / subtle / light” kit. This consists of the tiny Panasonic 14-42mm “pancake” power zoom, their 45-175mm, and the Olympus 9-18mm. Total weight 460g. These normally travel as spares with my old GX8, but get pressed into service when I need their remarkable physical characteristics. The 45-175mm is a real gem: only 90mm long (and no longer, it’s an internal zoom) and 210g, in adequate lighting it’s capable of shots just as sharp as the 35-100mm f/2.8. Its tiny size makes it unthreatening, its light weight makes it easy to hold the camera above your head (e.g. from the back of a crowd) and get sharp shots, even at maximum 350mm-e reach. However if you’re moving, it has another magic property: its size means that it can be held stable in the slipstream. Last year I was lucky enough to get a flight in a two-seat microlite, and here’s one of the shots I took from the back seat – try that with a 5D and EF100-400m lens!

Shot from the back of a two-seater microlite (Show Details)

Is the 45-175mm lens my favourite? I’m not quite sure, but how about it for a “left field” choice?

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Hungry Birds!

Blue tit babies
Camera: Panasonic DC-G9 | Date: 21-05-2020 11:08 | Resolution: 2094 x 2094 | ISO: 2000 | Exp. bias: -33/100 EV | Exp. Time: 1/500s | Aperture: 7.1 | Focal Length: 193.0mm | Lens: LUMIX G VARIO 100-300/F4.0-5.6II

Enormous excitement chez nous. We have a bird box, installed in the courtyard many years ago, which has been systematically ignored most years. But not this year. A couple of weeks ago we realised that a couple of blue tits were frequenting it, dragging bits and pieces of nest material back and forth, and in the last week activity had ramped up dramatically but we weren’t quite sure to what what stage.

Then yesterday while Frances was planting she heard some very enthusiastic tweeting, and caught sight of a couple of tiny yellow beaks. Mum and Dad are now running relays about 14 hours a day to shovel food into those tiny beaks. It’s quite interesting to watch the patterns. One, let’s assume it’s Dad, has obviously found a good source of grubs at the other end of the garden and does straight runs right through the Chinese circle, only slowing slightly before dumping said grub into a waiting beak. He was on about a 2 minute cycle yesterday afternoon.

Feeding time – all the time! (Show Details)

The other, let’s assume it’s Mum, is more cautious, and tends to land on a nearby branch or two first before approaching the box more slowly. Sometimes they arrive together and it’s amusing to watch one bouncing up and down waiting for the other to finish his/her delivery.

That looks tasty… (Show Details)

It was never a deliberate plan, but we have four windows with a view of the box, and they don’t seem to mind us standing watching or photographing as long as we’re behind glass. It’s a bit of a challenge photographically as they all move so quickly, and I haven’t yet got the perfect shot of a grub being deposited into a waiting yellow beak, but these aren’t bad. Enjoy!

That cobweb covered in pollen looks good, if I can just reach it… (Show Details)
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Raising the Bar…

Obelixia - primary resident of Elizabeth Bay - my shot
Camera: Panasonic DC-G9 | Date: 25-11-2018 11:48 | Resolution: 5159 x 3224 | ISO: 200 | Exp. bias: -33/100 EV | Exp. Time: 1/200s | Aperture: 6.3 | Focal Length: 286.0mm | Location: Elizabeth Bay | State/Province: Elizabeth Bay, Karas | See map | Lens: LUMIX G VARIO 100-300/F4.0-5.6II

Assuming that we all get back to travelling, it looks like I have seriously raised the bar on my own travel photography. Not only did we get to shoot at one of the same locations as Seven Worlds, One Planet, but it looks like I got to photograph the same individual! (Spot the distinctive pattern of bites on her ears.)

From Seven Worlds, One Planet (Show Details)
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Small is Beautiful

Miniature sarcophagus from the Tutankhamun exhibition
Camera: SONY DSC-RX100M4 | Date: 30-12-2019 12:54 | Resolution: 2832 x 4248 | ISO: 2000 | Exp. bias: -0.7 EV | Exp. Time: 1/80s | Aperture: 4.0 | Focal Length: 25.7mm (~70.0mm)

Here are a couple more of my shots from the Tutankhamun exhibition. The sarcophagus is a particular delight, as the full-sized items did not travel from Egypt, but this 6″ version did. In real life it’s tiny – if you look carefully you can see a pin to the left of the belt – that’s a normal mounting pin, not a bolt! So I have a picture of the sarcophagus, almost as if we’d seen the real thing.

I’m very pleased with this image. It was taken at f/4 and ISO 2000, through glass but from only about a foot away. Depth of field was a significant challenge, but I cheated slightly by putting the result through Topaz Sharpen AI in focus mode. The result is sharp in most areas, although the top of the headgear and tip of the beard are still slightly out. Noise wasn’t really a problem, although Topaz did clean it up slightly.

However this is mainly a testament to the Sony RX100, rather than post-processing. It may be the size of a packet of cigarettes, but it’s capable of images just as good as an interchangeable-lens camera ten times its size and weight. It’s not a “point and shoot” compact camera, it’s a big camera made small. However small doesn’t mean cheap, even this five year old variant costs over £500 if you find someone who still has new stock. The latest variant costs almost as much as a top-end Micro Four Thirds camera or mid-range DSLR.

Necklace featuring Akenaten, from the Tutankhamun exhibition (Show Details)

But that’s absolutely right. Making tiny things which are just as good as the full-sized versions is hard, takes a lot of work, and demands arguably even more skill. I would hope the Pharaoh’s advisors accepted that when they commissioned a jeweller and a miniature artist to make these items. It’s equally true today.

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