Full Frame Mirrorless

Although I have been a longtime user of mirrorless cameras, I’ve been sitting on the fence about moving to a full-frame model. What was holding me back was my reluctance to make a sizable investment for a new set of lenses.

This past February while attending the Wedding & Portrait Professional Conference & Expo in Las Vegas, Sony introduced a new camera – the Alpha 7 III. In case you’re curious about it, see my previous article about the WPPI Expo here. A couple of features of the 24 megapixel A7 III caught my attention. First was the camera’s autofocus system. Using 693 phase detection AF points focusing was fast and accurate. Second the camera’s Eye AF which identifies and tracks the subject’s eye as the focus point. Third was its high continuous shooting speed – up to 10 frames per second. And forth was the comfortably adjustable LCD screen. And I saw that the A7 III had dual SD card slots. I spent about 30 minutes inspecting the camera and bouncing questions off of Sony rep Dave Rhodes. I left the expo with a very positive opinion about Sony’s brand new model. After returning home from WPPI, I pre-ordered the camera with a 28-70mm lens. Along with it I ordered an accessory that would allow me to use my collection of Canon lenses with this new model. This device is the Metabones Smart Adapter.
Last week Sony released the first batch of A7 IIIs and my order arrives by courier, but due to my workload I wait a few days to open it. When I finally free up some time I find that the package contains the body, lens, USB charging cord, shoulder strap and instruction manual. Strike 1 on Sony. I see that the package does not have a battery charger. Instead I have to use a USB cord to connect to the camera body to charge the battery.
Now I think that I’m ready to take a few shots so I attach the lens, insert the battery and a blank SD card and turn on the camera. Strike 2 on Sony. The battery is not charged so I cannot power on the camera. Disappointed, I unwrap the USB charging cord only to find that there isn’t an A/C adapter for the cord. Strike 3 on Sony. It would be nice for Sony to al least supply an A/C adapter for the USB cord. After striking out, I have to take a break. I hunt around for an A/C adapter and then proceed to charge the battery (in camera) for a couple of hours. After the battery is charged, I head outdoors to take a few shots.
my first photo with the A7 III	still – landscape
close up autofocus	action autofocus
high speed frame rate	auto white balance
While there isn’t anything remarkable about the photos, I want to see the camera shoot still, close auto focus (branch), action (runner), high frame rate (duck) and auto white balance (indoor).
I’m right-handed. The camera grip feels solid. Overall the body is compact without miniature features. The electronic viewfinder is bright and crisp. The LCD screen is adjustable making it easy to compose your shots whether they are overhead or low to the ground..
convenient and customizable control	the A7 III next to my Canon 6D
I like this camera’s dedicated exposure adjustment dial. A control wheel on the rear and another on the front are useful for changing exposure combinations. There are four buttons that let you customize the settings to your preferences. For those in a hurry to share photos, one of the controls lets you send images to a smartphone by Wi-Fi. And compared to my other full-frame DSLRs, the A7 III is noticeably smaller and lighter.

To be honest, I would not have purchased the A7 III had not the Metabones adapter been available. This accessory allows me to use my full-frame Canon lenses with Sony full-frame FE-mount bodies including the A7 III. Having read dozens of reviews of the Metabones adapter beforehand, I was convinced that it was the only way for me to afford a new A7 III without having to buy a new set of lenses.	the A7 III, Metabones adapter and a Canon E-mount lens.	the A7 III with the Canon 24-105mm F/4L lens attached.
As part of checking out this new camera, I tested all of the Canon lenses in my collection with the A7 III using the Metabones adapter. I was pleasantly surprised. The adapter worked with all of my lenses. Additionally the lens information (ID, shutter speed, f-stop, focal length) was transferred to the images’ EXIF data (two lenses were incorrectly identified). Below are images made using those respective lenses.
135mm F/2L	35mm F/2	75-300 F/4-5.6 @75mm
75-300 F/4-5.6 @300mm	24-105mm F/4L @24mm	24-105mm F/4L @105mm
50mm F/1.4	8-15mm F/4L Fisheye @8mm	8-15mm F/4L Fisheye @15mm
17-40mm F/4L @17mm	17-40mm F/4L @40mm	85mm F/2
100mm F/2.8 macro	Sigma 20mm F/2	24mm F/3.5L TS-E
100-400mm F/4.5-5.6L @100mm	100-400mm F/4.5-5.6L @400mm	All of these photos were taken from a distance of about eight feet except for the two 100-400mm photos which were taken from a distance of about 16 feet. In short, the Metabones adapter lets you use Canon EF-lenses on Sony FE-mount bodies. Sony E-mount lenses (designed for the smaller APS-C size sensor) can be used on the A7 III. My E-mount 18-200mm lens worked perfectly. However using an E-mount lens reduces the image resolution from 4000 x 6000 pixels to 2624 x 3936 pixels.

 
 

One neat feature that I am going to use for portraits is coined Eye AF. Long ago I was taught that for portraits it is important to focus on the subject’s eye. With Eye AF activated, the camera identifies the subject’s eye and makes it the main focusing point even if the subject moves. Eye AF worked well with the several subjects that I photographed.

I should mention that there’s an app on my iPhone that lets me grab images from the A7 III. The app is called PlayMemories Mobile and lets me download the images (JPGs only, not the raw ARWs) from the SD card to my iPhone. Having used the app with other Sony cameras previously, I’ve found it to be easy and very reliable.

I should also mention that PlayMemories Mobile also lets me record location information for the images. Using the smartphone’s GPS capabilities, the app sends the location coordinates via Bluetooth to the camera as it is capturing the images onto the SD card. Again, in my short time using this feature, it worked reliably. Bravo Sony.

I use the classic version of Lightroom to perform most of my image editing. To be exact, I’m now using Lightroom 6.14 but it’s my understanding that Adobe will not be making any further upgrades to this version. Therefore it’s unfortunate that I am unable to edit the raw ARW files with my copy of Lightroom without performing an extra step. Luckily I’ve found a way to fool Lightroom into believing that the camera’s raw ARW files were created with the previous generation Sony A7 II camera. Still this “fix” is an inconvenience before editing with Lightroom.

Despite my initial frustration (lack of a charger, uncharged battery, etc) out of the box, I remain very positive about its impressive features and performance. Having spent a few hours “playing” with this new mirrorless, I’ve used only several of the features that first attracted me to this camera. There are many more that I plan to become familiar with and use. Additionally, there are a large set of features that should be of interest to the movie enthusiasts. Admittedly, I’m not deep into moviemaking so I will cede the reviews on this aspect of the camera to other photographers.

In the mean time, if you’d like to learn more about this new model, Sony has an extensive description of the Alpha 7 III features here.

The suggested retail price of the A7 III is $2000 for the body or $2200 for the body with 28-70mm lens and is now available.
 
 

Written by: Arnie Lee
 
 

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Instant Cameras on the Comeback Trail

When I was growing up, Polaroid instant print cameras were very popular. After I bought my first SLR, my next purchase was the $19.95 Polaroid Swinger. The size of a small loaf of bread, the Swinger produced small black and white prints (about 2″ x 3″) in a mere 60 seconds. Instead of spending hours in the darkroom to see the results of my picturetaking, the Swinger provided me the instant gratification that today’s digital devices now deliver. Before I knew it, I had several Polaroids in my stable of cameras including the OneStep as you see on the right. This model popularized the square 3′ x 3″ format prints in both black and white and color. For many reasons by the start of the year 2000, the Polaroid Corporation was on a downhill slide and its bankruptcy claimed their instant cameras and film as a casualty.
At about this same time, Fuji was developing their Instax line. Fuji has since introduced a series of cameras that are tailored to multiple markets. Various models of the Instax are available in many different sizes and dozens of bright colors as you can see below. They include models for children, teenagers and millenials. I had a chance to see many of these models and displays at this year’s annual Wedding & Portrait Professional International Convention and Expo where I learned about Fuji’s continuing commitment to instant photography.   Instax film is available in several different sizes and with colorful borders. The board on the right shows a set of instant prints that might be displayed for an engagement – in real time.
Instax Square SQ10   The Fuji rep showed me one of their new models. It’s called the Instax SQ10 and Fuji dubs this an instant print camera with digital features. As its name suggests, the prints are about 2-1/2″ x 2-1/2″ square. The SQ10 has a digital sensor so it can capture images to a microSD card. You can edit and or enhance the images using the builtin LCD monitor. The SQ10 has 10 builtin filters and adjustments for brightness and vignette. Lastly you can immediately print one or more copies. The SQ10 has a fairly fast f/2.4 aperture with autofocus, a builtin flash, a self-timer and automatic ISO setting from 100 to 1600. The film is packaged for 10 exposures. The suggested price is about $230 and film about $12 per pack. For more information please visit Instax Square SQ10.
Instax Share SP-3   The rep also demonstrated the Share SP-3. This is a small, portable printer that uses the same square film as the SQ10. It’s aimed at users who want prints of their smartphone photos. To use it you first install the SP-3 app onto your smartphone. The app then establishes an integrated Wi-Fi connection from the SP-3 to the smartphone. The app offers several ways to customize the prints. There are adjustments for brightness and contrast, color and special effect filters, conversion to black and white and multiple ways to combine two, three, four or nine images on a single print. Additionally the time, date and location can be added to the print. The SP-3 also lets you print images from a Facebook, Instagram, Flickr and Google Photo account so you can share prints with others. The suggested price of the SP-3 is about $180. It uses the same film as the SQ10 costing about $12 per pack. For more information, please visit Instax Share SP-3.

 

 

Written by: Arnie Lee

 

 

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Tiny LED Lighting

As I was walking through the WPPI Expo, the display to the right caught my attention. And so I stopped to talk to the rep. Here is a small aquarium filled with water. At the bottom are two small cube devices. Both of them were brightly shining to demonstrate that they are waterproof. The small device is the Litra Torch – a cube about 1-1/2″ in size and weighing a mere 3 ounces. It provides up to 800 Lumens of continuous daylight balanced light but is also adjustable to 450 and 100 Lumens. With it’s 80 degree coverage, it’s usable with most wide angle lenses. The Torch also has a strobe mode – useful for special effects while shooting video. There are a variety of options for mounting the Litra. The body has two standard 1/4-20 tripod sockets. Its back is magnetic for attaching to a metallic surface. For close up work, you can attached the diffuser (see below). It includes a mount when used with a GoPro. Rep Andrew Siminoff showed me a GoPro mounted with a pair of Torches that was set up for video recording (see below right). The Torch is powered by a rechargeable lithium ion battery that provides about 30 minutes of light at the high 800 Lumens setting. Litra also has a set of accessories for the Torch including bicycle mounts, head mounts, several handheld mounts, miniature tripod and filters.

 

The Torch is an accessory that you can literally carry around in your pocket to provide a convenient light source. Suggested price is $80 and includes the diffuser, belt clip, GoPro mount, USB charging cable.

For more information please visit Litra.

 

 

Written by: Arnie Lee

 

 

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The Newest High Performance Mirrorless

As the cold winter weather wares on me, I look forward to escaping for a few days. My destination is the Wedding & Portrait Professional International Conference and Expo in warm (usually) Las Vegas. There photographers can attend any of several hundred seminars, classes, workshops covering the gamut of the photography world. I especially like the expo where I can seek out the makers of new equipment and accessories. And so for this article, you’ll see that I stopped at Sony to have a look at their upcoming A7 III mirrorless camera.
Sony is the leading maker of mirrorless cameras. Early on I was attracted to Sony’s NEX series owing to their compact size and weight. I now own three of Sony’s mirrorless APS-C sensor models. For the past two years, my walk-around “goto” is the Sony Alpha 6000 with which I’ve taken many tens of thousands of pix. I’ve been holding off upgrading to a full frame, but Sony has been dangling some impressive features in their newer models. The A7 III is Sony’s latest iteration of full-framers and I had some hands-on at the WPPI Expo.
Pick up the camera and it’s lightweight (compared to full-frame DSLR) but solid. The body is made from a magnesium alloy and is sealed to keep out dirt and moisture. The handgrip is comfortable (I’m right handed) as I tested it with the 24-105mm G lens. I cozied up to the bright, crisp viewfinder. Although I was in a lower light indoor setting, the speed of autofocus seemed to be very snappy. I counted four customizable buttons – a plus for fast working in the field. There are also two convenient dials for changing shutter speed or aperture and a welcomed dedicated dial for exposure adjustment.
Among the A7 III’s impressive features are:   24.2 MP full frame sensor with ISO from 100-51200 Bright 2.3MP electronic viewfinder Advanced AF with 693 phase detection and 425 contrast points “Eye AF” detects and focuses on subject’s eye continuous shooting up to 10 frames per second in camera 5-axis image stabilization high capacity battery provides 700 shots per charge dual SD card slots supports high speed UHS-II tilting LCD screen with touch-screen capability high resolution 4K HDR video
At the WPPI Expo, Sony rep David Rhodes demonstrated a new feature for me. Using your finger tip, you can use the touch screen to instantly change the focus point. The LCD screen also tilts up and down for easier viewing from different angles. While I wasn’t able to try it, the A7 III is capable of shooting 10 frames per second while maintaining autofocus.
In the past, some critics pointed to the dearth of lenses for full-frame Sony mirrorless cameras. Sony has been rapidly developing and introducing new lenses and now has a decent stable of prime and zoom lenses – I counted about two dozen lenses. Additionally, Sigma recently announced the support the Sony full-frame mirrorless cameras. While they are not yet available, Sigma will be producing the following prime lenses for Sony E-mount cameras: 14mm F1.8 DG HSM Art 20mm F1.4 DG HSM Art 24mm F1.4 DG HSM Art 35mm F1.4 DG HSM Art 50mm F1.4 DG HSM Art 70mm F2.8 DG MACRO Art 85mm F1.4 DG HSM Art 105mm F1.4 DG HSM Art 135mm F1.8 DG HSM Art

 

The A7 III is on target for release about mid-April. The suggested price is $2200 with a 28-70mm lens. For more information and detailed specifications, please visit Sony A7 III.

For more information about the upcoming Sigma lenses, please visit Sigma.

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After my hands-on test and after talking to the Sony rep David Rhodes, I’ve decided to pre-order the A7 III. The two features that pushed my decision are the speedy and more accurate autofocus, the 10 fps shooting capability and the availability of a larger selection of lenses. I look forward to its arrival – I’m told in a couple of weeks. Hopefully, I’ll have a review of the new equipment in the near future.

Note from April 10, 2018: I just received delivery of the A7 III that I preordered a couple of weeks ago. I hope to have a review shortly.

 
 

Written by: Arnie Lee
 
 

What’s is WPPI?

	Late last momth, I left the bitter cold and snow of Michigan and trekked to a warmer environment for a couple of days. My destination was the Wedding & Portrait Photography International Conference and Expo in a warmer Las Vegas. Here are some of the photographers lining up to register for WPPI. I was told that attendees numbered about 13,000.
WPPI is an annual event. The audience is the large set of professional photographers and videographers who earn their living shooting weddings, portraits, school and sporting events. The five day conference consist of classes, seminars, photo walks and live demonstrations taught by celebrated professionals and industry educators covering every imaginable photo topic. In addition to the conference, there is a three day long expo at which several hundred manufacturers of photo equipment, accessories, photo finishing services, frames, albums, software and services present their products for attendees. The venue for WPPI was the Mandalay Bay Convention Center on the south end of the LV Strip
This year the conference consisted or more than 200 different classes covering a wide gamut of subjects: equipment, lenses, posing, lighting, flash, printmaking, pricing, babies, special effects, drone. The list of instructors are among some of the most well-known and successful photographers: Me Rah Koh, Matt Kloskowski, Denis Regge, Terry White, Bob Davis, Lindsay Adler, Miichele Celentano, Bambi Cantrell, Julieanne Kost, Hanson Fong, Jerry Ghionis, Roberto Valenzuela, Tamara Lackey, and Joe McNally to name a few.
While I sat in on a few classes, I spent most of my time at the expo. Follow me as I take you on a quick walk through of the exhibit hall to show you the types of photographic knowledge that is available at WPPI.
Special Effects Class	Lindsay Adler behind the lens
A Lighting Demo	Posing Babies
Jerry Ghionis at the mic	Portraits Up Close
Single Flash Demo	Group Shots
Hanson Fong Bounce Flash	…and the result
During the couple of days that I spent at WPPI, I talked to several exhibitors about their products. I’ll have additional articles here describing these products in the next few weeks. I hope you’ll be back here soon.	Fashion

 

 
Written by: Arnie Lee

 

 

Upcoming WPPI 2018 Conference & Expo

Having been part of the software, computer and publishing industries since 1980, I’ve been to Las Vegas more times than I care to count.

However the thought of another laborious trip out West isn’t going to keep me away from the Wedding & Portrait Photography International event this year. For the past several years I’ve thoroughly enjoyed this meeting where 200+ classes are taught by professionals covering a wide range of photography topics including lighting, posing, drone, video, baby/child, sports, school, printing, retouching, marketing and business. Among the instructors are many recognizable names: Tamara Lackey, Lindsay Adler, Julieanne Kost, Sue Bryce, Jerry Ghionis, Roberto Valenzuela and Joe McNally who will share their skills with the attendees.

In addition to the standard classes, there are smaller and more intensive sessions aimed at a limited number of attendees. And for those who’d rather be in a non-classroom setting there are multiple scheduled Photo Walks that provide hands-on learning.

I’m especially interested in the WPPI Expo. In the large exhibit hall you’ll meet with manufacturers and suppliers of photo equipment, accessories, photofinishing, presentation and framing, software and services. On the expo floor, various manufacturers present live demonstrations of their equipment and techniques. It seems that all of the major brands are on hand to demonstrate their products and answer your questions. I’ve made many purchasing decisions after having met with sales reps at earlier WPPI events..

This audience is taking in a presentation at the Canon booth

If you’re anxious to sharpen your photography skills, take a look at the many classes that are offered at the conference. Last year WPPI hosted about 13,000 professional and advanced photographers.

WPPI will take place February 24 to 28 at the Mandalay Bay Resort in Las Vegas. For more information please visit WPPI Conference & Expo.
 
 

By Arnie Lee
 
 

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I’ve been a tech junkie for a very long time. It seems that whenever new technology appears, I’m fairly quick to try it out.

Several years ago, I bought a MakerBot 3D printer. Early adopters know that purchasing new technology is usually expensive – this model had a price tag just north of $2000. Using it, I’ve learned the mechanics of how these amazing devices turn long rolls of plastic filament (PLA) into very detailed solid models. The prize is a collection of plastic models that adorn my office and the house. To be honest, I haven’t had a need for additional 3D models, so the MakerBot has been sitting unused for the past few months.

At this past January’s Consumer Electronics Show I ran across a couple of new 3D printers. And while the technology is no longer new, the prices of several of the printers are now within the grasp of many more consumers. My interest in a second 3D printer was motivated by my curiosity about the quality of the finished models compared to the more expensive MakerBot from a couple of years ago.

New Matter is a relatively new manufacturer that makes the MOD-t 3D printer. I purchased one directly from New Matter bundled with additional filament and accessories for $350 – a huge price difference vs. the MakerBot from a few years ago.

 

The MODt is small in size and can easily fit on a desktop. When operating, the continuous movement of the base plate mechanism creates a a noticeable noise. The clear plastic cover keeps the noise level down.	3D models are created by emitting melted plastic filament (PLA) from the heated extruder. The PLA is supplied in long rolls of different colors. A 150-meter length roll of PLA costs about $20.
Here’s the MODt at work as it lays down a few thin layers of melted PLA.	A few minutes later, several more layers have been added revealing more of the model.
This is the completed 3D model. You can see that the completed project shows a tremendous amount of detail.	The patterns for models are available free from many online 3D libraries. This model was available from the New Matter 3D library.
This model was printed as two separate parts. Afterward, the base and the launcher were combined to turn it into a working catapult.	This white model was also printed as two separate parts – the bottom circular plate and the tall intricate vase. Complex models may take a few hours to complete.

 

 
I’m impressed with the quality of the finished 3D models, especially at the rock-bottom $$300 price. For more information, please visit New Matter.

 

 

Remote Photography Made Easy

 
At this year’s Wedding & Portrait Photography International (WPPI) trade show I made it a point to watch several live demos of drones. Why, you may ask, are there drones on exhibit at a conference dealing with photography? Well, judging from their impressive video capabilities, drones are frequently used to record weddings. Although it’s been a while since I ended my stint as a wedding photographer, I’m still quite taken by the possibilities and usefulness of drone photography.

After talking to a few of the drone sales representatives at WPPI, I purchased the Mavic Pro. This compact unit has many impressive features – foldable rotors, interchangeable battery, gimbal mounted 4K video camera, micro SD card to record images, remote controller with multiple flight modes, live streaming to your smart phone.

Following, I’ll give you a quick look at some of the above-mentioned features that I make this a worthwhile investment for my flying pleasure – and the pleasure of a few of my grandkids.

When not in use, you can fold the rotor arms. This makes it very easy to carry the Mavic from place to place. On board sensors guide its flight path away from obstacles such as trees or buildings.	The Mavic’s battery is rechargeable. Each charge provides about 25 minutes of flight time. Since the battery is also interchangeable, you can carry a spare to extended your flight outings.
The built-in video camera provides very good quality images owing to the 3-axis gimbal that steadies the movies.	Video images are stored on an interchangeable micro-SD card. You can also stream live video to an attached smart-phone.
You can connect your smart-phone to the remote controller. Use the controller to start and stop video recording, point the camera in a different direction or take still photos. The smart-phone screen displays the live camera imagery. Additionally, the DJI app lets you change drone settings and view vital information and statistics.	Users can command the drone to follow and record a specific person or object from up to 4 miles away. Wave at the Mavic to snap a still photo of you on the ground. Or plot a course for the Mavic to fly using multiple waypoints. The controller is very capable.
Newbies can fly the Mavic using several foolproof ways to avoid crashing. Here’s my grandson taking his first flying lesson using Beginner Mode.	You can see that this still photo taken remotely by my grandson demonstrates the high quality of the Mavic’s on-board camera.
Below is a series of Mavic clips that I’ve combined into a short movie. Note how smooth the video plays due to the steadying effect of the gimbal mounted camera.

 

 

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The Mavic Pro sells for about $1000. For more information about the Mavic Pro please visit DJI.

 

 

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Scanning Made Easy with the Epson FF-640

If you’re old enough to drink (alcohol that is), then you may remember the shoebox in the closet stuffed with family photos. They sit there collecting dust until someone brings up a past event that has you digging through hundreds of prints looking for the time that Uncle John took you fishing and you caught your first keeper.

Our family has been taking and collecting photographs since the 1920s. As the unofficial designated keeper of the archives, I’ve been slowly scanning these photos with the goal of organizing, documenting and distributing them to the many relatives and friends among our (very large) extended family.

About the year 2000 I acquired my first flat bed scanner similar to this one. Although a flat bed produces good quality digital images, it is slow and laborious to operate. Each photo is carefully placed on the glass top, the cover is closed and then the computer is instructed to start the scan. Owing to my lack of patience, I can scan only a couple of dozen prints using the flat bed at one sitting. Afterwards, I have to take a break. At this pace, it will be a long time to complete my archiving obligation. NOTE: The flat bed scanner to the right is a newer advanced model that can produce very high resolution digitized images from your photos. It can also produce digitized images from film negatives (do you remember film?) and transparencies (slides). For the many shoeboxes full of old photos that I have to organize, I’ve decided that speed is more important than high resolution. At this year’s WPPI Conference and Expo, I found a solution that is now helping me make progress dealing with the thousands of prints that have been collecting dust in the closet – the Epson FF-640 FastFoto scanner.
	The FF-640 scanner connects to your computer with a USB-cable. The computer here is a MacBook but the scanner is compatible with Windows PCs as well. Photos are stacked into the feeder face down. The guides on the feeder are adjustable and accommodate up to twenty or so photos of the same width. The Epson software lets you specify the level of resolution – either the lower 300 dpi or the higher 600 dpi. While you can save hard disk space by using the 300dpi setting, I’ve always scanned at the 600 dpi setting since I’m not concerned about conserving hard disk space. You can also select a folder for storing the scanned images.
The photos are loaded into the feeder face down. The gray guides are adjusted to the width of the photos.	Here I’ve specified the name of the destination folder for the scanned image.
You can start scanning your stack of photos by clicking on the FastFoto software start button. Alternatively you can press the blue button on the FF-640. This is another nice feature since you can take as much time to load subsequent groups of photos into the scanner without having to reset the software.	When you’ve completed scanning one or more stacks of photos, the FastFoto software displays the digital images on screen. The software lets you enhance the brightness and contrast, remove red eye and restore faded colors of the original photo if you’d like to save editing time afterwards.

My mother often wrote “notes” on the back of the photos. The FastFoto has a built-in feature that lets you scan both sides of the photo so that you can keep the notes with the digitized image.	This is an example of a scanned image from a photo with a note written on the back.	The note refers to Steven’s school grade when the photograph was originally taken.

This is an old photo from the shoebox. The original was quite faded.	Thanks to the ingenuity of this scanner I can digitally record the imprint on the back of the original. The photo was processed in 1951!
Here is another old vintage b&w photo.	Conveniently annotated from 1950.
Below is a short video of the FF-640 in action. I can scan four or five dozen photographs with the FF-640 in about ten minutes. It’s an amazing time saver.

 

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The FF-640 sells for about $650 – a considerable investment. However, I’m thoroughly happy with this scanner. It has saved me countless hours of time on my quest to archive the thousands (tens of thousands) of family photographs.

For more information, please visit Epson.

 

 

 

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April 22, 2017   “Today we celebrate the 47th anniversary of Earth Day. Here I recount some thoughts since this movement was in its infancy.”

Earth Day was founded by the late Senator Gaylord Nelson in 1970. His intent was crystal clear – to focus attention on the environment, to assess the effect that our population is placing on our limited natural resources, and to implement the urgent actions to keep the earth sustainable for generations to come.

In these intervening 47 years, a generation or two has passed. Yet the Nelson’s urgency has not translated into the wide and responsive action that many of his disciples would have hoped.

Could it be that Nelson’s intent is now gaining traction? Exactly one year ago under the auspices of the United Nations, the Paris Agreement was signed. It’s long name is the UN Framework Convention on Climate Change for limiting greenhouse gases emissions. This agreement became effective in November 2016. So it seems that little by little we are inching our way towards a gentler and kinder treatment of Mother Earth.

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To borrow a phrase from Vonnegut, follow me for a few minutes as my mind becomes unstuck in time.

My favorite author was the late Kurt Vonnegut. When he died in 2007, I recalled meeting him in the late 1960’s. Vonnegut was invited to be “writer in residence” while I was studying at the University of Michigan (UofM) in Ann Arbor. As a wildly popular author of this time, he was sure to have a large, welcoming audience at UofM.

He sometimes visited “The Brown Jug” for coffee and to smoke cigarettes. As an aside, he claimed that smoking was the slowest form of suicide. My wife Kris, also a student, waitressed here and on occasion would serve him. Due to her hearing difficulty she admitted that she wasn’t a very good waitress and frustrated Vonnegut with her (lack of) service. More to the point, his stay on campus as writer in residence ended prematurely when he abruptly left saying something like: “I’m leaving Ann Arbor since I have nothing more to teach you about writing.” So it goes.

Kurt Vonnegut photo courtesy of Colleen Taber	the author and his dog living “60’s back to nature”
Motown’s Four Tops	James Taylor	Gordon Lightfoot

The late 60’s was a very vibrant and exciting, yet conflicted era. From my high school yearbook a Charles Dickens quote describes the period: “it was the best of times and it was the worst of times….we were all going direct to heaven, we were all going direct the other way”. This was the period of Viet Nam and Kent State, living off the earth and making peace, hippies and long hair. We were contemporaries of heavy metal, Motown, Bob Dylan, The Beatles, James Taylor and Woodstock music. With this as a backdrop, we happen upon the Earth Day 1970 teach-in at the U of M.

After Vonnegut’s departure, the folk song artist Gordon Lightfoot visited Ann Arbor. Gord had been drawing large audiences around the US, Canada and Europe. Here he performed his Canadian Railroad Trilogy (click for lyrics) for more than 12,000 screaming students. It is a poetic ballad describing the building of the railroads across Canada and the difficult tradeoffs between developing the economy and keeping the land pristine for the future – an apt way to point to the environmental conflict in musical terms.

Lightfoot’s concert was part of the first Earth Day teach-in, a gathering of some 50,000 in Ann Arbor to discuss, educate and find solutions to environmental problems created by the earth’s inhabitants. From all of the excitement and the energy which went into the production of the first Earth Day teach-ins, many of us believed that we were on the verge of saving the environment.

I was planning a career to revolve around conservation, ecology and recycling. I studied writings from the likes of educators and humanists Kenneth Boulding, Buckminster Fuller and E.F. Schumacher and took courses such as forestry, resource management and cost-benefit analysis.

My great enthusiasm for all things environmental waned not long after graduating with a degree in Natural Resource Economics. It was fully a year later that I was still trying to find a job in this nascent field. Instead, I ended up in the computer and publishing business. So it goes.

I tend to shy away from talking politics so I won’t comment on how well or how poorly us earthlings have done to improve the environment these past 47 years. However, like others, I’ve seen a very large and urgent movement in recent years to resurrect many of the same or similar ideas from these earlier decades that call for a change in our lifestyles.

Of course there have been numerous events that have flashed attention on Earth Day. How about a song with a conservation theme: Conviction of the Heart (click for lyrics) was performed by writer/singer Kenny Loggins at Earth Day 1995 in Washington, DC.

A few years back we took our young grandkids to see The Lorax, a movie based on a Dr Seuss’ book. It describes a place where the trees have been clear cut so there are no trees left. Everyone depends on manufactured air to provide oxygen for their survival. Through battle with “industry”, the hero finally succeeds in planting a single tree. This act restarts the path to regenerating oxygen naturally. While the story is a little far fetched, it presents the oxygen depletion issue to a young generation.

We later took them to see another movie – The Croods which depicts the struggle of a family of cave people to survive in a deteriorating world. They survive through human ingenuity with inventions such as fire, shoes and wheels. I hope this isn’t the only lesson for our next generation – that technology alone is going to save our environment. Yes, we are quite ingenious. But a lot of us have reservations that technology by itself will solve our planet’s woes.

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Photography and the Environment

So what does all of this rambling have to do photography? Well, to continue in the same vein, I thought it might be interesting to look at photography then and now to compare their individual environmental impacts.

At first, I thought this was going to be a “no brainer” – that digital photography yields huge environmental savings compared to conventional photography. But as I began to dig deeper, I see that there are two sides to this argument.

Conventional Photography

Having worked in several commercial photo labs long before the advent of digital, I’m familiar with the processes that are used in conventional (film-based) photography.

Most conventional cameras use a cartridge or canister filled with film for 12, 20 or 36 exposures. Each “roll” of film is individually packaged for sale in hundreds of thousands of retail locations. Besides the resources needed to manufacture the film, a considerable amount more are used to market and distribute the products.

Film derives its light sensitivity from a chemical mixture of silver halide that’s coated onto its surface. After being exposed to light by the camera, the film is first “developed” – the silver halide image is converted into a metallic silver and then “fixed” – the unused silver halide is dissolved. This makes the negative image permanent. Color film requires additional chemicals to form the dyes used to reproduce the various colors. And still other chemicals are used to enhance the drying of the photographic materials. In addition to these chemicals, a large amount of water is used to rinse and clean the chemicals from the surface of the film.

Conventional photographic prints are processed similarly using a silver halide sensitive paper and chemicals to develop and fix and wash the positive images. Most commercial photo labs make prints from each exposure on a roll of film.

The environmental impact of conventional photography is significant. A large amount materials is consumed to make film and photographic paper. A large amount of nasty and toxic chemicals are used to process both the film and prints. And an awfully large amount of fresh water is used in the process as well.

Digital Photography

At first glance, the coming of age of digital photography appears to have a beneficial impact on the environmental.

With digital, no longer is there a need for roll after roll of film. Instead a single chip (SD-card or CF-card) can capture hundreds, maybe thousands of images.

Now, these digital images no longer require chemical development. Rather, the images are immediately available to review while still in the camera. For permanence, the images can be copied to your computer hard drive for safekeeping, further enhancement and presentation.

Unlike conventional processing where each exposure is mindlessly printed by the photo lab, you can be more selective. Instead you can choose to print only the best of the best images. And it’s your choice to print them using a conventional photo process at your favorite photo lab or print them at home on your color ink-jet printer.

Regardless of which camera you’ve purchased, digital photography seems like a winner from an environmental standpoint.

The Rest of the Story

As with many things in life, digital photography has a few “gotcha’s” that cloud its environmental friendly moniker.

The upside is that digital provides big savings in resources by eliminating film, packaging, paper and chemical processing. However, digital shifts the resource burden to the manufacturing and maintaining of the personal computer. Yes, there are some who make do without a personal computer. These picturetakers bring their digital film to a photo lab to make their selected prints. But most picturetakers collect, organize, retouch, process and present their photographs using a personal computer.

While it’s dated, a United Nation report tells us that “the average 24 kg desktop computer with monitor requires at least 10 times its weight in fossil fuels and chemicals to manufacture, much more materials intensive than an automobile or refrigerator, which only require 1-2 times their weight in fossil fuels. Researchers found that manufacturing one desktop computer and 17-inch CRT monitor uses at least 240 kg of fossil fuels, 22 kg of chemicals and 1,500 kg of water – a total of 1.8 tonnes of materials.”

Of course a personal computer is used for other tasks as well, so it’s not fair to put the full blame for digital photography’s negative impact on the environment.

And to power all of these cameras, computers and accessories the need for electricity either from the wall outlet or batteries is climbing. Does this contribute to our CO₂ footprint?

Not surprisingly, manufacturers are working feverishly to add new and amazing whiz-bang features to their cameras. But now instead of buying a conventional camera every ten years or so, the buying cycle for digital cameras is a lot more frequent. Read: more resources consumed.

Wrapping it Up

We can credit the overwhelming adoption of digital cameras for saving the environment from millions of rolls of film and the required chemicals to develop the the film and prints. In addition to the great quality of digital technology, we benefit from a huge reduction of harmful photographic chemicals.

Unfortunately, from an environmental standpoint, digital photography is a mixed bag when considering the pervasive number of new cameras and extensive use of the personal computer.

In his novel Slaughterhouse Five, Kurt Vonnegut might comment on this no-win situation with the phrase so it goes.

A while back, I wrote another article that might be of interest if you’re following the status of our environment.

After all of these years as an avid photographer I’m still a proponent of carefully using our precious natural resources. Aside from photographing family, my favorite pastime is nature and landscape photography. Below you can see some of the ways that I commune with nature.

	These photos were taken in many of our National Parks, Monuments and parklands. As you read this, I’m off to other outdoor places to experience more of our earth.

 

 

To the best of my ability I continue to practice “leave no trace photography” – disturb neither our wildlife nor its surroundings. Photography, whether conventional or digital, is a gift that lets me enjoy the wonders of our amazing world visually. I think many others agree.

Again I say Happy Earth Day!

 

 

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More Information
Here’s a few articles that touch on the conventional vs digital photography debate.

• Five environmental impacts of electronic communications
• The Environmental Impact of Digital Photography
• Environmental impact of digital cameras compared to film
• How Photographers Are Reducing Their Environmental Impact
• How to Be an Environmentally Friendly Photographer

For those of you who are interested in the movement, here is a link to one of the main Earth Day sites.

History of Earth Day

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Written by Arnie Lee, former flower child and founder of Stay Focused.

Please leave your comments below or address your thoughts about this article, to Arnie via email

 

 

 

 

 

Canadian Railroad Trilogy By Gordon Lightfoot

There was a time in this fair land when the railroad did not run When the wild majestic mountains stood alone against the sun Long before the white man and long before the wheel When the green dark forest was too silent to be real But time has no beginnings and history has no bounds As to this verdant country they came from all around They sailed upon her waterways and they walked the forests tall And they built the mines the mills and the factories for the good of us all And when the young man’s fancy was turning to the spring The railroad men grew restless for to hear the hammers ring Their minds were overflowing with the visions of their day And many a fortune lost and won and many a debt to pay For they looked in the future and what did they see They saw an iron road running from sea to the sea Bringing the goods to a young growing land All up through the seaports and into their hands Look away said they across this mighty land From the eastern shore to the western strand Bring in the workers and bring up the rails We gotta lay down the tracks and tear up the trails Open your heart let the life blood flow Gotta get on our way cause were moving too slow Bring in the workers and bring up the rails We’re gonna lay down the tracks and tear up the trails Open your heart let the life blood flow Gotta get on our way cause were moving too slow Get on our way cause were moving too slow Behind the blue Rockies the sun is declining The stars, they come stealing at the close of the day Across the wide prairie our loved ones lie sleeping Beyond the dark oceans in a place far away We are the navvies who work upon the railway Swinging our hammers in the bright blazing sun Living on stew and drinking bad whiskey Bending our old backs til the long days are done We are the navvies who work upon the railway Swinging our hammers in the bright blazing sun Laying down track and building the bridges Bending our old backs til the railroad is done So over the mountains and over the plains Into the muskeg and into the rain Up the St. Lawrence all the way to Gaspe Swinging our hammers and drawing our pay Driving them in and tying them down Away to the bunkhouse and into the town A dollar a day and a place for my head A drink to the living and a toast to the dead Oh the song of the future has been sung All the battles have been won Oer the mountain tops we stand All the world at our command We have opened up the soil With our teardrops and our toil For there was a time in this fair land when the railroad did not run When the wild majestic mountains stood alone against the sun Long before the white man and long before the wheel When the green dark forest was too silent to be real When the green dark forest was too silent to be real And many are the dead men too silent to be real

 

 

Conviction Of The Heart By Kenny Loggins

Where are the dreams that we once had? This is the time to bring them back. What were the promises caught on the tips of our tongues? Do we forget or forgive? There’s a whole other life waiting to live when One day we’re brave enough To talk with Conviction of the Heart. And down your streets I’ve walked alone, As if my feet were not my own Such is the path I chose, doors I have opened and closed I’m tired of living this life, Fooling myself, believing we’re right I’ve never given love With any Conviction of the Heart One with the earth, with the sky One with everything in life I believe we’ll survive If we only try How long must we all wait to change This world bound in chains that we live in To know what it is to forgive And be forgiven? Too many years of taking now. Isn’t it time to stop somehow? Air that’s too angry to breathe, water our children can’t drink You’ve heard it hundreds of times You say you’re aware, believe and you care, But do you care enough To talk with Conviction of the Heart?

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