The Lakes Get Posher

They get a better class of busker on Lake Como!
Camera: Canon EOS 550D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 09-09-2013 15:36 | Resolution: 4883 x 3255 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/60s | Aperture: 8.0 | Focal Length: 83.0mm (~134.5mm) | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Day 9

Early start for long drive to Lake Como, which involves crossing another couple of mountains. Getting out of Riva Del Gardo complicated by one way system and tunnels, and we end up half way down western shore of Lake Garda before we realise we’ve gone wrong.

Last mountain pass, the Passo Croce Domini proves a tricky sting in the tail. All other mountain roads have been well surfaced, a good two cars wide, and with barriers in all the right places, even if shown with a thin white line on the map. Despite the thick yellow line which normally denotes a “good secondary road” on the Michelin map, the pass is more like something out of The World’s Most Dangerous Roads, with a crumbling surface, few barriers, and long stretches only a single car wide.

Although Italy is full of speed monitoring warnings, we’ve seen few cameras until we get to the bottom of this pass. Then the next 15 miles is completely saturated with them! The funny thing is that each has a symbol which looks remarkably like a British bobby in his pointy helmet – not obviously an Italian icon at all.

The remainder of the drive is faster but boring: the industrial towns to the north of the Italian lakes are completely dead on a Sunday, and the main road down the east of Lake Como now runs the whole way in a tunnel about a mile inland.

Finally get to Varenna on Lake Como. Very elegant hotel at La Villa Cipressi, with private gardens overlooking the lake. Great view from the room, but how is it vaguely acceptable in 2013 to light the room with a couple of dim bulbs in opposite corners, and have no power socket accessible for clients without having to unplug one of those few lights?

After dark we get all sorts of weather, sequentially. First continuous thunder and lightning almost like a light show over dinner, then torrential rain, but still no wind. The wind starts when we’re in bed, and threatens to loosen the shutters. I told Frances the story of how a similar storm on Lake Geneva provided inspiration to Mary Shelly and she christens it The Frankenstein Storm.

However Day 10 dawns beautiful and clear, with blue skies and none of the haze we’ve been battling at other locations.

Food: 7/10
Photography: 7/10
Weather: 4/10 (for interest)

Day 10

Spent the day “ferry hopping” around the centre of Lake Como. We would have covered more ground but for a staggering display of Italian administrative excellence which left all the passengers for the lunch-time ferry from Belllagio queuing at the wrong pier while the ferry left from the other one.

Anyway, we had a nice wander around Belllagio, which is very elegant, followed by a longer than expected but excellent lunch. We managed a flying visit to Mennagio, which is more touristy, and we got great shots of Varenna, which has the most interesting architecture, from both land and Lake.

Photography: 7 /10
Food: 8/10
Administration: 1/10 (and that’s being generous)

Day 11

Relatively straightforward drive back to Linate airport, despite a minor map-reading panic. Another enforced long lunch, this time due to computer problems at check in. Oh well…

10 minutes before boarding spot green trousers exactly the right shade, my size and on sale at otherwise hideously expensive designer “duty free” shop. Typical Italy – just when you think the administration is over they have a problem with the till! Managed to make flight, but light one receipt…

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What I Want In My Next DSLR – Progress Report

ISO performance in the Panasonic GX7 is excellent. Single shot at ISO6400 (no HDR, basic noise reduction)
Camera: Panasonic DMC-GX7 | Date: 29-09-2013 14:12 | Resolution: 4592 x 3064 | ISO: 6400 | Exp. bias: -66/100 EV | Exp. Time: 1/25s | Aperture: 5.6 | Focal Length: 9.0mm (~18.0mm) | Lens: OLYMPUS M.9-18mm F4.0-5.6

Have digital cameras advanced as picture-taking tools for serious photographers since 2010?

In 2010 I wrote an article assessing what I thought was then missing from the typical DSLR, in the hope that it might contribute to improving digital cameras as fully functional tools for photographers. Three years on, and having just got my hands on an absolutely brand new, state of the art enthusiast’s camera in the form of the Panasonic GX7, I thought it might be interesting to see how far we’ve got.

What I didn’t realise in May 2010 was that I would replace both my DSLRs within a couple of months. The Canon 550D and 7D were solid direct updates which gave me the Canon 18MP sensor but scored a round 0 against my other targets. Since then, I have not had the slightest temptation to invest in another DSLR. Compact cameras, yes. Mirrorless, yes. DSLR, no.

My latest “DSLR” has no “R” (reflex mirror) at all. However it is a proper enthusiast/professional camera which matches the basic features of my Canons very well, and I believe more accurately represents where cameras of this class are going.

So bearing in mind that this is now in the context of a “DSLM”, how are we doing?

1. Expose To The Right Metering. Nope. Unless I’ve missed something, most cameras still just offer evaluative or spot auto-exposure aiming for an overall mid grey. Manual metering (or manual compensation of auto-exposure) is easier with electronic viewfinders and real-time histograms, but you still have to “drive”. 1/10

2. Optimisation for RAW Capture. Not really. A lot of the GX7’s clever post shooting options are JPEG-only, and the histogram at replay is still JPEG-based. Highest shooting speed is similar. 0/10

3. Built-in HDR Support. Sort of, but they’ve got it wrong. The GX7 can do HDR, combining three exposures in camera, but it’s again JPEG-only with fixed settings. Many other new cameras are similar. To add insult to injury the GX7 supports my preferred 2-stop exposure bracket in the “HDR”  mode but I can’t set it manually! There are innovative ideas out there, like the 7D firmware hack which interpolates between alternative lines of the sensor captured at different ISOs, but nothing mainstream. 1/10

4. Bluetooth. Yes (makes a change :)). I got the technology slightly wrong – the camera world has gone for a WiFi based solution rather than Bluetooth. Otherwise what I wrote in 2010 could be the product description. I haven’t played with the solution for the GX7 yet, but it’s promising. 10/10?

5. Note Taking, Tagging and Content Enrichment. Limited. The GX7 has some annotation capabilities, but they are very limited, and, astonishingly, JPEG-only. Have these guys never heard of XMP files? I’m not aware of anything better in a dedicated camera, but the new Samsung Android-based one might move in the right direction. 1/10

6. Geotagging. Partial. Despite being a common feature on high-end “point and shoot” cameras, very few interchangeable lens models have GPS. The GX7 supports working with a phone as “teathered” GPS, much as per my 2010 concept, but it looks like it might be quite heavy on both phone and camera battery life. I really don’t understand why manufacturers don’t just build GPS in. Meanwhile I’ve got a good system which works for all my cameras using the phone to do a periodic log, and then tagging images using Geotag. 4/10

7. Focal Distance Read-out. No. 0/10

8. Hyperfocal Auto-Focus, and Automated Focus Bracketing. No. Newer cameras offer better support for manual focus, like focus peaking, and may be better at getting the maximum spread of subjects captured by auto focus,  but still extend little control over the auto focus. 2/10

9. Intelligent Panorama and Multishot Support. Disappointingly no. The GX7 has panorama support, but it’s JPEG-only. See above for criticisms of its HDR and bracketing features. It does have the ability to tag related shots together, but you have to do it manually after shooting. At the very least it should be possible to automatically tag a bracketed set together, but no. 1/10

10. Tripod Sensitivity and Mirror Lock-Up. No, but getting less necessary. Going mirrorless removes the need for mirror lock-up, and stabilisation mechanisms are getting progressively more tolerant. However the GX7 manual still recommends you manually switch stabilisation off when the camera is on a tripod. Why can’t this be automated? 3/10

11. Camera Plate Anti-Rotation Hole. Again no, but the necessity is reducing. The problem gets less with lighter cameras, and I’ve invented my own solution by adapting a long tripod plate with a strategically-placed screw. 10/10 to Andrew, 2/10 to the camera manufacturers.

12. Just Add Lightness. Yes, albeit in an unexpected direction. Like for like things have actually got worse. My Canon 7D and 15-85mm lens is significantly heavier than the 40D and 17-85 it replaced. However I have cheerfully embraced the micro four thirds standard, and the cameras and lenses are both dramatically smaller and lighter. The trade-off is rather more fiddly handling – in many ways my ideal would be the same weight but a size larger – but I’m getting used to the new paradigm. 8/10

So, a grand total of 33/120 (if my optimism about the wifi solution is borne out in practice), or about 27%. The three year report reads “could try harder”.

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Down to the Lakes

Arriving in Style! Bride being delivered to wedding in Riva Di Garda, Italy
Camera: Panasonic DMC-GH2 | Date: 07-09-2013 12:51 | Resolution: 3084 x 3084 | ISO: 160 | Exp. bias: -66/100 EV | Exp. Time: 1/250s | Aperture: 7.1 | Focal Length: 42.0mm | Location: Bw Hotel Europa | State/Province: Trentino-Alto Adige | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

Day 7

A somewhat less exciting day dominated by the long drive down (well strictly up down up down down up down) from Cortina to Torbole on Lake Garda. Lunch at a tiny local pizzeria a mile off the main road, but which sported an international menu in multiple languages including Turkish, Russian and Finnish as well as the predictable English and German.

Alfa’s dashboard starts showing a warning symbol. We stop at garage and consult the manual, but cannot identify it. Later Googling returns disconcerting number of matches for “Alfa Romeo dashboard unknown symbol”.

Hotel Lago di Garda in Torbole is very modern and pleasant, but car park about 1/2 mile away, and sun deck provides lake view only to those over 6ft or under 2!

Food: 7/10
Hari Kari Motorcyclists: – 5/10

Day 8

Excellent breakfast, probably the best so far with an amazing array of cheeses, hams and fruits.

The north of Lake Garda consists of two towns about a mile apart – Torbole where they keep the tourists (think Blackpool in Italy), and Riva Di Garda where they keep the old buildings and posh shops.

Fortunately it’s a pleasant and quite short walk along the shore between them – you just have to dodge the ever-present cyclists.

I finally had a more successful day’s shopping. This included the purchase of lilac trousers a size too small, followed immediately by trouser-hostile ice cream.

Nice meal at the hotel, another tasting menu although arguably not up to the standard of Verona or Cortina.

Food: 8/10
Shopping: 7/10
Photography: 7/10 (windsurfers)

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Finally, in the Mountains

At the top of the Passo Giau, 2236m
Camera: Canon EOS 550D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 05-09-2013 15:07 | Resolution: 4764 x 2977 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/80s | Aperture: 8.0 | Focal Length: 35.0mm (~56.7mm) | Location: Forcella di Giau | State/Province: Veneto | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Day 6

Started the day with a trip up to the high point above Cortina, Le Tofane at 3244m. Frances opted to stay at the cafe slightly lower, but I took the final cable car and then completed the final scramble to the summit. Superb views looking down into three separate valleys, including several impressive backdrops used in Cliffhanger. I was looking down on rising mist and low cloud, so superb photography.

After lunch we drove up to the lake at Misurina, another strong recommendation from the tourist office. This is a beautiful clear lake surrounded by high mountains, and very photogenic despite the other tourists.

Our plan was to finish the day with the last of the “must do” recommendations, the cable car to the Cinque Torre (5 towers), but we were running too late. However a spot of map reading suggested an interesting substitution – the drive up to and view from the Passo di Santa Lucia. As we arrived the sun was going down and storm clouds gathering, producing fascinating light.

Back to the hotel, and a very good “Gala Meal” well above my previous experience of half board fare. The Francesci Park Hotel gets a very high recommendation.

Food: 8/10
Photography: 9/10
More bloody cyclists: -5/10

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Through The Dolomites

The hills are alive, with the sound of Frances!
Camera: Panasonic DMC-GH2 | Date: 04-09-2013 15:14 | Resolution: 4752 x 3168 | ISO: 160 | Exp. bias: -66/100 EV | Exp. Time: 1/2500s | Aperture: 3.5 | Focal Length: 12.0mm | Location: Rifugio des Alpes | State/Province: Trentino-Alto Adige | See map | Lens: OLYMPUS M.12mm F2.0

Day 5

Our long drive to Cortina D’Ampezzo started with a gentle drive on the old road to Trento, most remarkable for the very erratic roadsigns showing remaining distance. Warning: the value of your roadsigns may go up as well as down.

We had been lulled into a false sense of security, and the main road through Trento was truly ghastly – two lanes between high, unyielding steel barriers with zero room for manoeuvre either side. The signage was also appalling and we ended up having to cross back over the valley on very small local roads. Fortunately after that we turned off up into the hills and things improved.

Lunch was non-trivial. The first little restaurant we tried wasn’t doing food. The second had just been filled by about 100 cyclists. The third was actually the local gourmet restaurant, but they were happy to sell us two courses off their very interesting menu. The venison carpaccio was excellent!

Finally we were into the mountain drive. You can’t get to Cortina from the west without doing at least two 2000m+ passes, and our route included three. It was a stunning drive, but sadly on quite busy roads plagued by a menace of vast numbers of cyclists. We think it’s bad in Surrey…

We did like the various convoys of cars clearly being driven by owners clubs. The group of black Porsche Carrera GTs was impressive, but the best fun looked like the long convoy of original Fiat 500s, pooping horns at everyone they passed.

Coffee and strudel at a beautiful chalet café at the top of a pass truly excellent.

We finally arrived in Cortina about 6, and went out to look in shops and find dinner. Only when we got back did the hotel receptionist remind us we had paid for half board..

Note to self: if all else fails, read the instructions!

Food: 9/10
Photography: 7/10
Driving: 8/10 apart from the cyclists

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Buttons Or Switches? Buttons Are Better!

My Canon 7D, like the 40D before it, has a feature I love and would find it hard to relinquish – three fully programmable custom modes, right on the mode dial. This makes it possible to sort out the myriad of settings in a flexible modern camera, and quickly get to a sensible starting point for a given type of shooting, and then, equally importantly, back to normal mode, without forgetting something important. My four main shooting modes are:

  • Normal: Aperture priority, default auto focus, single shot, auto white balance
  • C1: HDR / bracketing – like my normal mode, but with my standard two stop exposure bracketing and high frame rate multi shot on the shutter
  • C2: Action – shutter priority, tracking auto focus using the central zone, highest frame rate multi shot shutter control
  • C3: Panorama (manual everything) – manual exposure and white balance, defaulted to sensible “landscape” settings

This works brilliantly. Unfortunately in Canon’s marketing strategy it’s classified as a “professional” feature and not available (or only partially implemented) on their lower models. When I found myself a couple of weeks ago at the top of a mountain in Cortina D’Ampezzo with the 550D in “landscape” mode and then saw some interesting birds of prey I couldn’t set up quickly enough to get the shots.

Now I have two “enthusiast” cameras from Panasonic, the GH2 and the new GX7. To Panasonic’s credit, both have three custom modes. (The GX7 actually has five, but three main ones.) However, comparison of the cameras has thrown up an interesting issue. Like the Canon 7D the GX7 sets everything via buttons (and the general-purpose dials). Almost all settings are gathered up and remembered for the custom modes, and then presented back to the user via the very informative viewfinder displays.

The GH2 is different. Many of its settings are controlled on dedicated mechanical switches. While this may appeal to some photographers, it actually causes me two problems. Firstly on such a tiny camera the graphics for the switch positions are so small I can’t always read them accurately with my glasses on (my norm out of doors). Worse, it means they can’t participate in the custom modes. You end up with a situation where either the switches setting is just not memorised, or the physical position and the memorised one are in conflict. I think Panasonic default to the former, but it’s not 100% clear.

I’m not advocating putting a camera’s settings all on the menu – that doesn’t work well either except on very small or much simpler cameras. The 7D and GX7 both have enough buttons to dedicate to the main settings, and that’s correct.

So I think there are three important lessons in ergonomic design of enthusiast/professional cameras:

  1. Fully programmable custom modes are good, arguably essential,
  2. Dedicated controls for the main settings are also required, but:
  3. These should be buttons, not physical multi-position switches (see point 1)

And I suspect the GX7 is rapidly establishing itself as my preferred “carry round” camera. Now where’s the Capture One support?

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From Bergamo to Verona

Inside the Torre dei Lamberti, Verona
Camera: Panasonic DMC-GH2 | Date: 03-09-2013 15:41 | Resolution: 4752 x 3168 | ISO: 1600 | Exp. bias: 0 EV | Exp. Time: 1/30s | Aperture: 8.0 | Focal Length: 14.0mm | Location: Arche Scaligere | State/Province: Veneto | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

Day 3

Ghastly first hour driving from Bergamo to Breschia along the motorway, with heavy traffic, narrow lanes and roadworks frequently eliminating the minimal existing room for manoeuvre. We got off as soon as possible and drove gently towards Verona on the old road around the edge of Lake Garda. Slightly slower, but dramatically more pleasant.

This did mean approaching our hotel via the centre of the small town where it’s located. They really don’t expect you to do that, and signage was almost non-existant.

The name Hotel Antico Termine (=”old terminus”) summoned up an old station abandoned by Beeching-like cuts. The old station building was exactly as expected, but not the fact that the line is still very much in use, with high speed trains thundering through every few minutes. Oh well…

We still managed a relaxing afternoon by the pool, but it wasn’t quiet ๐Ÿ™ At tea time we set out for Verona, which turned out to be unexpectedly easy, between a very direct back road from our hotel, and a very good recommendation on car parks.

Excellent food at a gourmet restaurant recommended by Pauline, resplendent in the name Il Cenacolo, or “The Last Supper”.

Back at the hotel discovered some more failings. The rooms have mirrors and lights, unfortunately not in the same corners. One power socket does not suffice to charge a modern set of gadgets. Oh well…

Food: 9/10
Roads: varied from 1/10 to 6/10
Hotel: 3/10

Day 4

A surprisingly good night’s sleep, as our room was at the opposite end of the hotel from the railway, and we’re used to the odd train noise at night at home. However breakfast was a complete failure – we got down just after 9 and there was nothing left but cake! Not even a jug of water. There was one waitress trying to replenish supplies, but facing a full, large hotel just couldn’t keep up. We packed for the day, and headed into town, where the guy at the local sports bar had some warm pizettas and nice coffee. Then back into Verona.

We spent the day gently wandering around Verona’s shops and tourist centres. The ancient arena is fascinating, and we watched the stage crew installing the most enormous set for that evening’s performance of Aida. It might have been nice to try and get tickets, but the performances run until about midnight and we had a long drive the following day. Maybe next time.

I downloaded an excellent little book for the Kindle app on my phone entitled “Verona in One Day”. Despite the odd linguistic oddity (e.g. “ewe” for the second person) it did what it said on the tin and routed us round the “must dos” in an efficient way. Meanwhile Frances was doing well on shopping, although I have seen rugby scrums less energetic than the almost competitive purchasing going on at her favourite Italian blouse shop, where one woman attempted to grab a blouse Frances was already paying for! (Frances would not be beaten…)

Photography: 6/10
Shopping for F: 7/10
Shopping for A: 0/10 (almost no men’s stores, and nothing I was looking for)

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Unexpected Support

Quick update on the support position for the Panasonic GX7. Phase One won’t commit themselves on Capture One support. It looks like the DNG converter is the best Adobe are going to do. I also haven’t yet managed to track down updates for some utilities like ExifTool, although they may exist.

Then last night as an idle thought I tried the RAW processing app I have on my Galaxy Note tablet, PhotoMate. It worked first time with the GX7 images! Nice.

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Getting Ahead of the Curve

The majority of my camera purchases have been somewhat “behind the curve”, to the extent that I’ve purchased some just before the announcement of their replacement. However for my latest purchase I’ve gone right to the other end of the spectrum.

I placed my order for the Panasonic GX7 the day it was announced, and have been waiting only moderately patiently for it to turn up, which finally happened on Friday. Why? I think mainly because I have been suffering “new gadget withdrawal”, especially after the disappointment of my Olympus TG2 in April, and the lack of anything appealing from Canon.

It will now be interesting to see how long I have to wait for effective software support. Neither Capture One nor Adobe Camera Raw support it yet. The camera comes with a copy of the ghastly SilkyPix, but personally I’d rather have my teeth drilled. Fortunately Adobe have released some support via their DNG converter, and the in camera JPEGs are pretty good, so if I do get any really wonderful shots in the next month or so I’m not completely stuck.

First impressions? It’s very small, a definite size down from the GH2. I hold my larger cameras gripped firmly by the right hand with the left for additional support and zooming. The GH2 is a bit small for this, but it just about works. However the GX7 is too small altogether, and in addition the lug for the strap pokes out in just the wrong place to dig into the soft part of my hand. I hold the diminutive Canon S95 pinched between thumb and forefinger of my right hand for shooting, with the middle finger of the right hand providing bracing and operating the zoom. The GX7 is a bit big for this, but it may be the right approach, especially when I can work two handed. I’ll have to experiment.

Otherwise all the controls fall to hand and work quite intuitively – the provision of a front control wheel allowing the rear one to be dedicated to exposure adjustment suits my shooting style well and is a dramatic improvement over the GH2.

Based on early reviews I expected the viewfinder to be both larger and clearer than the GH2. I can’t see any real size difference, and it’s still a notch down from a large DSLR like the Canon 7D, but it is almost as clear as a good OVF. Another definite improvement.

Dislikes? Another bloody proprietary USB connector, and it’s different to the GH2. This just gets worse, and any designer who thinks it might be vaguely acceptable should be taken out and shot. This one is so unique that I can’t currently source a spare cable anywhere obvious! However, as it is compatible with the also-new LF1, I hope that it does at least represent the new standard for Panasonic…

Auto ISO is a bit surprising, defaulting rapidly to ISO 6400. It remains to be seen whether this can be justified by the quality of the raw files at that level – the JPEGs are OK, but maybe not as good as I hoped. — CORRECTION — I’ve just had a look at some of the in-camera JPEGs on the PC, and at ISO 3200 they are superb, at ISO 6400 they are really perfectly usable for anything short of fine art, and I would not be ashamed of the ISO 25600 results for an important “memory shot”. It remains to be seen what can be done with the RAW files, but so far, so good.

It looks like the GX7 shares one of the GH2’s failings – the apparent quality when reviewing images in camera is very misleading, and usually pessimistic, something my Canon’s don’t suffer from.

Overall a promising start. I’ll keep you posted.

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Back to Italy!

Sunset on the Piazza Vecchio, Bergamo
Camera: Panasonic DMC-GH2 | Date: 31-08-2013 17:17 | Resolution: 5111 x 3195 | ISO: 160 | Exp. bias: 0 EV | Exp. Time: 1/160s | Aperture: 11.0 | Focal Length: 14.0mm | Location: Excelsior San Marco Hotel | State/Province: Lombardy | See map | Lens: LUMIX G VARIO PZ 14-42/F3.5-5.6

For 2013 we’ve come back to Northern Italy. It’s a place we both love. Frances has long harboured a desire to visit Verona, and I wanted to revisit the Dolomites through which I took a fleeting drive many years ago, so we built both into a short loop from Milan.

Photographically this is an experiment, as for the first time for about 6 years I’m travelling without my full-sized Canon camera. Unfortunately the new Panasonic GX7 didn’t turn up in time, so the primary tool will be my existing micro four thirds GH2, with the Canon 550D as backup.

Day 1

Travel from Heathrow to Milan works flawlessly, a good start. Hire car is an Alfa Romeo Giulietta, with a 2l turbo diesel engine, which should be fun.

Short drive to Bergamo, and found hotel after minor panic. Parking in square behind hotel behind big doors in shopping arcade, just like in The Italian Job.

After settling into the hotel, we went to explore the old town of Bergamo Alto, (= “high”). There’s a funicular railway to the main town, and a second one which I thought went down the other side. Wrong. It’s a long way to the top of the hill on foot! However, had wonderful meal in restaurant recommended by our friends Pauline and Filece (who happens to be an Italian restauranteur).

Note to self: just because restaurant has Pizzeria in name doesn’t mean it is not posh and I shouldn’t arrive soaked after walking a mile up a steep hill!

Food: 9/10
Hotel: 10/10
Map reading of funicular railway: 1/10

Day 2

Further exploration of Bergamo. The low town is mainly big Lombardy bank offices and modern shops but worth a wander. Hotel Capello d’Oro is right in the centre. Bergamo Alto is the real tourist centre. We had a great lunch at the cafe run by the Bergamo micro brewery – excellent stouts and bitters completely contra to normal expectations of Italy.

We did all the normal tourist sights, then headed back to the hotel for a quiet coffee break. After that we headed out for dinner, to find the main square setting up for a big festival. Dinner, a club sandwich, was a bit disappointing, but the free rock concert was very good, we enjoyed watching the glamorous Italian ladies, and I got another pint of the local brew. Very good ice cream too.

Bergamo really is the home of beautiful people. We followed one young couple with three very young children, she in a spotless white linen dress, he in beige trousers and pale green polo shirt matching his suede shoes. I don’t have toddlers, but if I did I would probably go around in a level 4 hazmat suit, visor down.

Note to Italian musicians: pop music really does work better in English.

Beer: 9/10
Music: 7/10
Tourist stuff: 7/10
Fashion: 10/10

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Balloon Fiestas – The Awards

Lift off of the mass ascension at the Bristol Balloon Fiesta 2013
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 10-08-2013 19:16 | Resolution: 3076 x 4613 | ISO: 200 | Exp. bias: 2/3 EV | Exp. Time: 1/80s | Aperture: 8.0 | Focal Length: 42.0mm (~68.0mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

We are becoming quite the connoisseurs of balloon fiestas (unless fiesta is its own plural :)). Following on from Northampton 2008 (0 balloons) and Albuquerque 2012 (over 500 balloons) we’ve now added Britain’s biggest festival on Bristol, which featured a great balloon display this weekend, including a mass ascent on Saturday night of more than 100 balloons.

Bristol’s economic model is interesting. It’s a “free” festival, which means in practice that they have to pack in lots of punters eating lots of burgers and taking lots of rides on the funfair to break even on costs. The result was a relatively crowded and sparsely entertained afternoon, but capped by first a very exciting mass ascension, and then, when the balloons returned, by a beautifully choreographed synchronised inflation and evening glow set to a great soundtrack.

Balloon fiestas are all different, and to articulate the differences, here are our Balloon Fiesta Awards.

Best Mass Ascension: Albuquerque 2012. 500 balloons and we were part of it!

Best Entertainment (No Balloons): Northampton 2008. I don’t know whether they were expecting problems with the star attractions, but the organisers in Northampton put on an excellent day’s entertainment regardless, with stunt riders, motorcycle display teams, and an attempt on the YMCA mass singing record! Bristol was about aerial displays, but very patchy. The non-appearance of the spitfires left a big hole in the afternoon’s events. Interestingly the Albuquerque model is completely different – it’s about the balloons, and everything essentially shuts down after the morning events, and restarts for the evening about 4pm.

Best Balloon Packing: Bristol 2013. We couldn’t believe how many balloons inflated simultaneously from such a tiny field. I was a bit scared to see the baskets of balloons just taking off scraping across the canopies of those still inflating, but no obvious damage was done.

Best Traffic Management: Albuquerque 2012. The Albuquerque police took traffic management very seriously, closing or re-routing feeder roads onto and off the freeway, and the car parks were well marshalled going as well as coming. From the last bang of the fireworks to our hotel room on the other side of the city – 25 minutes!

Worst Traffic Management: Bristol 2013. The Bristol police and organisers did not make such a good job of it. We spent two hours waiting to exit the car park… From the last bang of the fireworks to a (closer) hotel – 2.5 hours!

Best Weather for a Mass Ascension: Albuquerque 2012. Sunny, warm, and a blue sky to provide a nice backdrop to the photos.

Worst Weather for a Mass Ascension: Albuquerque 2012. OK, the balloons didn’t actually fly on the Thursday. Balloons and wind don’t mix. Propane tanks and lightning strikes really, really don’t mix!

Best Night Glow: Bristol 2013: Credit where it’s due – this was superbly done. The balloons were inflated in synchronisation to music, and then the burns to light the balloons were also synchronised with the soundtrack. Brilliant.

They were all fun, and I recommend the experience wholeheartedly, but every experience will be different.

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Capturing the Setting Sun

Angel Peak, New Mexico. HDR panorama from 15 originals.
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 04-10-2012 18:48 | Resolution: 5184 x 3456 | ISO: 800 | Exp. bias: -4 EV | Exp. Time: 1/320s | Aperture: 10.0 | Focal Length: 28.0mm (~45.4mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

I’ve been catching up with some of the outstanding shots from our USA trip in 2012. One of the most successful days of the whole trip in photographic terms started in the fascinating Bisti Badlands, and ended on a short rim drive opposite Angel Peak. The scenery there would be stunning in many conditions, but we were treated to a dramatic sunset, with the sky on fire in certain directions.

Unfortunately, however, the best sky colour was opposite to the most dramatic scenery, which raised a dilemma about what to capture, and how. Most of the shots of the sunset itself are very nice, but have a relatively boring foreground. I’ve ended up favouring a couple of compromises.

The top shot is composed from 15 original frames, processed first in Capture One, then converted in Photomatix to 5 HDR images which were in turn stitched together in Pano Tools Assembler. The dynamic range across the scene was very high, and unfortunately the most interesting areas of the scene, the sunset and Angel Peak itself, are quite widely separated with the intermediate area somewhat less interesting. Although I’ve gone for a fairly “natural” look I’m not sure it doesn’t still look a bit “processed”.

The other compromise is a more traditional one. I call the image below “Tree on Fire”. It’s lit by the setting sun, but there’s not much colour in the sky. My first attempt at this, immediately after the trip, wasn’t very satisfactory as I ended up with a very oversaturated image which had insufficient detail and areas of blank colour. Re-processing in Capture One with its excellent highlight recovery I’ve managed to keep the deep red colour but get the detail of the tree back. A tighter crop than my first go has also improved matters. I’m now quite fond of this one.


Let me know what you think.

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