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Into the Mountains

Panorama from 4 Infrared originals - original colours. Taken from the car park below Clingman's Dome
Camera: Panasonic DMC-GF3 | Date: 26-09-2014 10:48 | Resolution: 1920 x 1280 | ISO: 160 | Exp. bias: 0 EV | Exp. Time: 1/2000s | Aperture: 5.6 | Focal Length: 12.0mm (~24.0mm) | Lens: LUMIX G VARIO 12-35/F2.8

Day 5

After last night’s “oh bugger” moment we establish that the “right” Lynchburg is only about 60 miles south of Nashville and therefore a manageable diversion. The drive down is very pleasant, and the tour interesting, although our guide has a very thick accent and also assumes we understand the basics of the whiskey-making process, either of which might be a challenge for other attendees. The most impressive aspect is the sheer industrial scale of production tucked into a tiny site in Tennessee.

Through the remainder of the day Tennessee proves itself a bit odd. First although Moore County houses one of the world’s most famous distilleries, they never quite got around to repealing Prohibition, so you can’t actually buy a drink. Our long drive over to the mountains goes quite smoothly, except halfway across there’s a change of time zone, and we lose an hour mid-state.

The gateway area for the Great Smoky Mountains National Park doesn’t resemble any other park gateway we’ve seen. Pigeon Forge at the bottom of the hill is like a mini Las Vegas. Frances is in shock at the concept of “The Hatfields and McCoys Dinner Experience – What All the Fuss Was About”. Bad taste or what? Gatlinburg at the top of the hill is marginally less tacky, but still more like Blackpool than Moab. The difference is probably that this is one of the Eastern USA’s main ski areas, but it’s not Cortina D’Ampezzo either!

Dinner holds another surprise, when the waiter refuses to serve me a beer without my passport. There wasn’t evidence of much ID checking in Beale Street Memphis or the Nashville Broadway. Explaining to him that I was old enough to drink beer before he was born doesn’t work. Fortunately Frances does have her passport and buys the beer for me, but he makes a big thing of checking the passport’s “expiration date”. Now it may be just me, but I fail to see the logic here. If Frances was old enough to drink beer when an ID was valid, she will presumably still be old enough if it has expired, that’s how time tends to work. I suppose there’s a small risk she is a Time Lord who has regenerated as a youngster like Matt Smith, but that’s a bit of an edge case…

The mountains beckon.

Day 6

A great night’s sleep, with the gentle rush of the river a soothing influence. We forgo the free breakfast at the hotel in favour of a much nicer one at Shoneys. We end up sharing a steak, eggs, bacon, sausage and toast, which seems to be the most reliable protein-centric option.

Then we’re off into the park. Fears of overwhelming traffic rapidly prove unfounded, and other users are never in the way on the roads or at stops. In addition everyone is very friendly and welcoming.

On a less positive note the park itself is a bit underwhelming essentially just a nice large green space with a high road through the middle, and nothing to compare with the genuine wonders of the more famous parks of the American West. We are a few weeks early for true Autumn colour and I might be making a different statement seeing the colour at its height.

Lunch is taken on the North side of the park, at Cherokee which is almost exactly what we expected Gatlinburg to be, a small quiet park gateway town. I have trout from the river, Frances has steak again.

In the afternoon we do a loop which purports to be a nature trail, but serves much better as a route between old dwellings near Gatlinburg. It’s lovely to see all the old homesteads, but sobering to think what a tough life they represent.

Then into town where we find a nice “back alley” bar with excellent sandwiches, nice beer (and no nonsense about ID) and yet more live music, this time a couple singing country classics. I have a pork sandwich with crisps which have been freshly re-fried. Gorgeous, but God knows what their calorific content is. Frances has steak, again. There’s no problem getting something to eat in Tennessee, but you do run the risk of too much of a good thing, and not enough variety overall.

The infrared-converted Panasonic GF3 comes into its own photographing the “smoky” mist which give the mountains their name, rendering it by default as a dramatic “sunset” picture, as above. This is probably my favourite version, but it also works well with the red and blue channels swapped to create a deep blue sky, or as a high contrast black and white version.

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Goodbye Dr. Love

John Holt at the Barbados Reggae Festival, 2014
Camera: Panasonic DMC-GX7 | Date: 26-04-2014 04:14 | Resolution: 3424 x 3424 | ISO: 3200 | Exp. bias: -66/100 EV | Exp. Time: 1/100s | Aperture: 5.6 | Focal Length: 300.0mm | Lens: LUMIX G VARIO 100-300/F4.0-5.6

I was very sad this morning to hear of the passing of the great reggae singer, John Holt. Help Me Make It Through The Night is very possibly my favourite reggae love song, and the contrast between his sweet voice and the electric brass section always sends shivers down my spine. We were lucky enough to see John perform several times at the Barbados Reggae Festival, most recently this April, by which time he was probably already ill, but it took nothing from his performance. A great musician, who will be sadly missed.

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Music from Every Orifice, and a Sudden Realisation!

Songstress at the Listening Room, Nashville
Camera: Panasonic DMC-GX7 | Date: 24-09-2014 18:14 | Resolution: 3424 x 3424 | ISO: 3200 | Exp. bias: 0 EV | Exp. Time: 1/25s | Aperture: 5.6 | Focal Length: 46.0mm | Location: The District | State/Province: Tennessee | See map | Lens: LUMIX G VARIO 35-100/F2.8

Day 4

It’s a long but leafy drive from Memphis to Nashville, a bit like a 200-mile long tree lined avenue, but with bigger trucks! The road is misleadingly uniform, so it’s a surprise how different the two cities are. Nashville feels hotter (despite being higher and further north) and has a much more prosperous appearance.

Lunch is an alleged “prime rib sandwich”, basically a complete prime rib with two wonderful pieces of fried bread. Then we visit another fabric shop, which has by far the largest selection of fabric prints either of us have ever seen in one place.

Fabric shopping complete, it’s a short drive to the “music district”. Nashville must have more live music venues than London, and they are all within about half a mile. There’s literally music coming out of every orifice. We take afternoon drinks on the rooftop of the Hard Rock Cafe with a bunch of madmen who are prepared to attempt anything from Johnny Cash to Whitesnake, although they have to read the lyrics of Brown Eyed Girl off a phone. Dinner is with three charming young ladies playing their own country songs.

In the middle of dinner one of the songs is about whiskey, and I realise to my horror that I’ve been heading to the wrong Lynchburg for the Jack Daniels tour. Fortunately the mistake is recoverable just at this point, so tomorrow will be a slightly different route to the one we originally planned!

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‘Nuff Said

No comment...
Camera: Panasonic DMC-GX7 | Date: 22-09-2014 19:42 | Resolution: 3527 x 1411 | ISO: 3200 | Exp. bias: 0 EV | Exp. Time: 1/80s | Aperture: 5.0 | Focal Length: 59.0mm | Location: Beale Street National Historic | State/Province: Tennessee | See map | Lens: LUMIX G VARIO 35-100/F2.8
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An Historic Day

A target rich environment! Custom car on Beale St, Memphis
Camera: Panasonic DMC-GX7 | Date: 23-09-2014 19:38 | ISO: 3200 | Exp. Time: 1/15s | Aperture: 5.6 | Focal Length: 12.0mm | Location: Beale Street National Historic | State/Province: Tennessee | See map | Lens: LUMIX G VARIO 12-35/F2.8

Day 3

The drawback of being a stone’s throw from the airport is somewhat curtailed sleep as the flights start at about 4.30. Oh well…

First stop is a fabric shop on the outskirts where Frances buys some tassles, and we find by accident a flag shop where we manage to replace several of our older flags. Then we drive back to the centre via Summer Avenue which suddenly within one block transitions from tired commercial properties to very expensive-looking leafy suburbs.

In the centre we get coffee at the old and very elegant Peabody Hotel, whose central lounge fountain has been home to a bunch of ducks since an incident involving drunk hunters in the 1930s. The amount of duck merchandise is staggering, and their “walk of fame” outside has the stars’ names picked out with webbed footprints.

We decide to walk up to Sun Studios, and spend half an hour in the tiny recording room where so many great careers got started. The seven block walk in each direction probably just about cancels out the chocolate duck served with coffee. Then it’s back to the waterfront restaurant for a catfish sandwich for lunch – Memphis is seriously bad for the waistline!

The Cotton Museum is mis-named. It should be The Cotton and Blues Museum. It’s the only place in Memphis where we see an acknowledgement that it took musicians from Kent and Surrey to break down the barriers and make blues a universally-accessible artform.

A walk along a very quiet historic Main Street brings us to the Civil Rights Museum, which is closed. However we don’t have to go in to appreciate its location – the Lorraine Motel where Martin Luther King met his untimely end. So much for the promise about no more graves!

In general Memphis seems to be trying to quietly forget the days of discrimination, which seems a bit disingenuous, but maybe that’s what is required for a society to heal.

Dinner is taken at B B King’s Café, with a very good blues band who manage to make even Bill Withers songs sound like Cream. Throughout the meal Frances is occasionally squeaking as old cars turn into the pedestrian Beale Street, and we come out to a custom car show which fills the street for three blocks. Another “target rich environment”.

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Jumpin’

Beale St. Illuminations, Memphis
Camera: Panasonic DMC-GX7 | Date: 22-09-2014 19:35 | Resolution: 2562 x 3416 | ISO: 500 | Exp. bias: -66/100 EV | Exp. Time: 1/80s | Aperture: 8.0 | Focal Length: 39.0mm | Location: Beale Street National Historic | State/Province: Tennessee | See map | Lens: LUMIX G VARIO 35-100/F2.8

Day 2

Another early start, but thanks to jet lag it’s not a major issue. Reagan National Airport turns out to be an architectural gem, and I get some great shots of the main hall. Operationally it’s not at quite the same level and US Airways first have a very confusing check-in process, then load us onto a bus which spends about half an hour circling the tarmac before delivering us to a very small plane. At least we’re well looked after by the lone stewardess, and promptly delivered to Memphis to start our tour in earnest.

Picking up the car proves slightly harder work than usual, but we are rewarded with a very dramatic Mustang convertible in powder blue. Annoyingly Ford have changed the shape of the boot yet again, so it is now physically impossible to fit two suitcases, and we will be doing the whole trip with one on the back seat. At least the hotel is only about 5 minutes drive and easily located.

After lunch the first target is Graceland. This proves to be rather smaller than expected and much less tacky than feared. Given Elvis’ slightly odd choices of decor and gadgets “elegant” may not be quite the right word, but neither is it completely wrong. You are left with the impression of a good man who liked his cars and gadgets but was otherwise of relatively simple tastes, and maybe just found the stress of constant performing a bit too much to cope with.

The Meditation Garden existed as such even before Elvis’ death, another indication of his sensibilities. Today it houses his grave and those of his parents and grandmother. I promise Frances “no more graves”, but some promises are harder to keep.

We haven’t really tuned into the rest of Memphis, but the lady at the Graceland tourist desk gives us directions to somewhere called Beale Street. The route involves driving along the recently renovated waterfront of the Mississippi River, and it’s great to see Ole Man River in reality after a lifetime of reading about it. We then walk into a wall of sound, with music of every sort coming out of every door. Beale Street turns out to be very much the tourist hub of Memphis, with lots of interesting shops, great signage, and all that music. In photography terms it’s what they call a “target rich environment”.

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Back in the USA!

View from Arlington National Cemetary, with the Washington Monument in the background
Camera: Panasonic DMC-GX7 | Date: 21-09-2014 17:31 | Resolution: 3233 x 3233 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/320s | Aperture: 8.0 | Focal Length: 23.0mm | Location: John F Kennedy Tomb | State/Province: Virginia | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

We had a trip to the USA in late September and early October, which was highly enjoyable and produced a few interesting photos. Here’s what happened…

 

Day 1

Up early for flight to Washington. Everything goes smoothly apart from a delay getting away from Heathrow, however the pilots manage to make about half up on the flight. We arrive early enough to get on the DC Metro for a quick trip to Arlington Cemetery. The Metro proves to be straightforward, but a bit slow and infrequent on a Sunday.

At the Cemetery we focus on the graves of the Kennedy family, with a poignant reminder of their achievements. We also manage a quick walk to the top of the hill from where you can see the Lincoln and Washington Monuments, the Capitol and the Pentagon in one relatively narrow view, which emphasises the relatively small scale of the city.

Back in Alexandria we find a pleasant and tasty Mexican meal, which we manage to eat outside with no meteorological issues, but having to dodge falling beech nuts. Back to the hotel and early to bed (US time, it’s about 2 am UK time).

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Don’t Judge A Book By Its Cover

This week I am supporting the TRW presence at Automechanika in Frankfurt. Due to a cock-up on the packing front by the team leader this morning found us short of a wireless router essential to connect our demonstration vehicle to the Internet. An attempt to source one at the airport failed, and this morning Anne and I were sent out to procure a replacement.
Our hotel is close to a small commercial area, and we quickly identified a number of promising stores, which unfortunately shared a relatively late opening time of 10am. 9am therefore found us wandering forlorn with only bakeries and pharmacies able to serve.
Right at the end of the street we found Zam Zam’s Party Emporium, and in desperation ambled inside. There amongst the balloons, fancy dress costumes and greeting cards, on a shelf above the till, was not one but a choice of six different wireless routers!
35min later we were on our way, problem solved. Dixons 0, Zam Zam 1. Result!

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New Toy, New Challenges

Infrared image, combining filtering approaches
Camera: Panasonic DMC-GF3 | Date: 08-09-2014 15:26 | Resolution: 4000 x 2672 | ISO: 160 | Exp. bias: -66/100 EV | Exp. Time: 1/125s | Aperture: 7.1 | Focal Length: 14.0mm | Lens: LUMIX G VARIO 12-35/F2.8

I’ve just got a new toy, a Panasonic GF3 converted for infrared imported from the USA. I went for the 590nm filter which admits a fair bit of the visual spectrum for the popular “goldie” look, and which makes sure that the cameras metering and display work fairly unaffected. The challenge is that to get the best results you have to swap the red and blue channels in processing, and the only software which does that straightforwardly is full PhotoShop, which I don’t and don’t want to use.

However, I realised that I can combine the camera with the Hoya R72 filter, which passes only true infrared light above 720nm wavelengths. This instantly converts the camera to a true infrared system with monochrome output, which Capture One handles perfectly. The above is an example of how this works.

I’m just at the start of learning this fascinating technology. I may find that it’s a gimmick which doesn’t justify carrying around the extra kit (although as the GF3 shares batteries and lenses with my GX7 this is minimal), but it may help to develop my vision in an interesting way. I’ll keep you posted…

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Auto Everything? Not Quite…

The school, Merzouga, Morocco. Stitched from three originals
Camera: Panasonic DMC-GX7 | Date: 17-11-2013 11:11 | Resolution: 1920 x 1280 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/500s | Aperture: 8.0 | Focal Length: 24.0mm (~49.0mm) | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

A friend asked me a few weeks ago about how I get such depth of colour in my images, and whether it was related to using automatic modes on my cameras. I had to explain about shooting RAW and correcting exposure and colour during development of the final image. That’s most of the answer, but as always it’s not quite as simple as that…
Most of the time I do trust my cameras to do most of the work. Well over 95% of the time I shoot in either aperture priority mode (if the subject is not moving much) or shutter priority (if it is). I also use auto focus almost exclusively. I may move the focus point around a bit, but more often I tend to use the old SLR trick of focusing with the subject centred and the shutter button half pressed, and then recomposing.

I do adjust the camera’s auto exposure if necessary, usually by dialling in some exposure compensation, or adjusting the metering mode if the conditions are tricky (such as a concert), but I only worry if the automatic exposure is at least a stop out, assuming I can correct anything less in RAW development. However I’m finding that the metering of the latest Panasonics is accurate enough and the development latitude sufficient that the requirement to meddle is reducing. That said it’s very important to me to have a quick and easy adjustment Indepedent of the primary exposure controls, and annoying that Canon have inexplicably complicated this on the S120 compared with the S95.

I usually leave the camera to decide the ISO setting and white balance. With the latter it’s easy to correct the rare mistakes in RAW development, and too easy to get it wrong manually.

Very rarely I go manual, typically when I’m planning some sort of multi shot technique such as a stitched panorama and I need to be sure of consistent behaviour across the source images. It’s no longer required for HDR as all my cameras now do accurate, fast auto bracketing, but it can be required for panoramics or focus blending.

So on my Canon 7D and the 40D before it I had custom mode 3 set to “manual everything”, which worked well for panoramas from Italy to Iceland. It was perfectly possible to replicate the same on the Panasonic GX7 and GH4, so I did. Gotcha! Whereas “sunny” white balance is a good default for most outdoor photos on the Canons, for reasons I don’t entirely understand it’s not a good default choice on the Panasonics, and can produce some downright weird results. The above shot from Morocco required a lot of correction from an almost blue starting point, even though it was a bright sunny day.. The only thing I can think of is that the cameras are thrown by the effect of the polarising filter, but that’s not something I’ve seen before.

It looks like the best approach is to set auto white balance, but then apply a fixed manual value when generating the JPEGs to stitch. I may not yet be using “auto everything”, but it’s just come a step closer.

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Looking Down Dark Alleys…

An alley in the Marrakech Medina
Camera: Panasonic DMC-GX7 | Date: 12-11-2013 10:11 | Resolution: 3086 x 4114 | ISO: 250 | Exp. bias: -33/100 EV | Exp. Time: 1/60s | Aperture: 8.0 | Focal Length: 29.0mm | Location: Museum of Marrakech | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

I’m finally getting round to the first pass (!) on my Morocco photos. Work, my app development and the slow release of Capture One support for the Panasonic GX7 have all got in the way.

Here’s one from our second day in the Medina. We spent a lot of time peering down dark alleys, waiting to see if we could catch someone walking through a patch of light. It’s rather like shooting in a slot canyon – the position and the nature of the light changes incredibly quickly, and within about 10 minutes this light had disappeared. However while the light was right our patience was rewarded by the appearance of this nice Moroccan lady.

I continue to be amazed by the image quality of the GX7, and how Capture One handles it. Without adjustment this was almost a two-tone image of blown highlights and black shadows. Just using the “HDR” sliders of Capture One fully recovered almost all the highlight areas, and brought the detail in the shadows up to a level I like. That’s about all that was required.

More as they emerge from the shadows.

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