It’s Dark Down There

Mammoth Cave National Park, located in central Kentucky is the world’s largest system of caves extending more than 400 miles. On a recent trip with a few of our grandkids, we stopped there for a few hours to explore some of the caves.
here are the grandkids adorning the park sign	at this entrance way we had to descend about 30 steps
We arrived at the park too late to reserve a spot on one of the various guided tours. Instead we opted to take the self-guided tour.
The beginning of the cave entrance is lighted by daylight with handrails and a cement walkway. Continue walking and the outdoor light slowly disappears.	Electrical lights provide the only illumination inside, but they are relatively dim. We were surprised by the width of the cave at this point – about 30 feet side to side.
As you can see, we’re walking alongside the cave walls. The pathway is mostly hard dirt but there are cement pavers in some parts of this cave.	At this point, the cave widens considerably and the ceiling varies between 30 and 50 feet high. You’ll also notice that this area is well lighted.
One of the park rangers points out this small bat hanging from one of the cave walls. He tells us that there were hundreds of the bats at one time but they are no longer found in large numbers.	This part of Mammoth ends after about one-quarter of a mile. As we turn around and walk back towards the entrance way you can visualize the darkness of these caves.
This short clip shows the large size of the so-called “ampitheater” within the self-guided tour cave.
The steps from the cave. The self-guided tour is an easy way to explore Mammoth when you’re time limited.	Here is the wife and grandkids relaxing after their cave diving experience.

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For those interested, these photos were taken with a Sony A7 III camera using a 24-240mm lens. In most cases, the ISO setting was 16000 or 32000 and taken handheld with a shutter speed of 1/15 or 1/30 and aperture as wide as f/3.5. I think the photos are of pretty decent quality considering the cave environment.

 

 

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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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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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Keeps your camera close at hand

At this year’s Wedding and Portrait Photography International expo, I spent a considerable amount of time talking to many of the 200+ vendors of cameras, equipment, accessories and services. Spider Holster was one of these vendors that caught my attention. The Spider Holster set of accessories provides a way to carry one or more cameras conveniently at your waist. The system uses a pin (ball-joint) mounted on a plate that attaches to your camera body. The ball-joint pin securely slides into a slot on a waist-mounted holster. The camera literally “hangs” at your waist leaving your hands free until you are ready to shoot again.
The camera hangs at the shooter’s waist with the lens facing backwards. If the shooter kneels, the lens will remain facing backwards and out of the way.	The pin bracket screws into the camera’s tripod socket. Notice that there are two positions to mount the pin. One position is for a left-hand holster and the other position for a right-hand holster.
The holster attaches to a waist belt. The ball-joint slides into to holster and has a safety latch to prevent the camera from inadvertently detaching.	Representative Ashley Cavanaugh is sporting a single holster. You can also attach a second holster to the waist belt enabling you to swap between two cameras.
To the right is a variety of brackets and plates. One of the plates lets you mount the camera directly on tripods that require an Arca-Swiss mount.. The SpiderPro single camera system includes the holster, the camera plate, the pin and single cam belt. The suggested price of the single camera system is $135. The dual camera system includes two holsters, plates and pins and a dual cam belt. The suggested price of the dual camera system is $235. For more information, please visit Spider Holster.

 

 
Written by: Arnie Lee

 

 

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The Wedding & Portrait Photography International Conference and Expo

Can you guess who the target audience is for this convention?

For those professionals who want to enhance their skills – posing, lighting, equipment, marketing – the WPPI is a week-long “university” taught by experts. This year’s WPPI took place March 3rd through March 10th at the MGM Conference Center in Las Vegas. WPPI organized more than 250 classes and seminars for 13,000 anxious attendees. These classes were taught by 175 instructors including notables such as Joe McNally, Tamara Lackey, Lindsay Adler, Roberto Valenzuela, Bambi Cantrell, Hanson Fong, Kevin Kabota, Jerry Ghionis and Gary Fong to name a few.

In addition to the conference, the expo highlighted 270 exhibitors showed the newest cameras, lenses, equipment, lighting, accessories, supplies, marketing material and services. All of the major camera manufacturers will set up booths to demonstrate their latest equipment.

Following is a look at those items that caught my attention at the this year’s WPPI a couple of weeks ago.

Presentations and Seminars There were many opportunities for everyone to learn new posing and lighting techniques right on the expo floor. All of the camera makers and many vendors were holding demonstrations conducted by well-known photographer/educators.
DXO One
This small unit is a camera that works in conjunction with an iPhone. With a large 20mp 1″ sensor and f/1.8 lens you attach it to your iPhone to control settings. It also works “off-phone” if you want a small, lightweight camera. Though small, it can capture RAW images too. I found it very straight-forward to use and the images were quite good considering the convention hall lighting. Suggested price is $499. For more information please visit DXO
MagMod
MagMod makes a set of accessories to improve the quality of light from your flash unit. These include a snoot to narrow the light to a beam, a sphere to diffuse and soften the light and a bounce that reflects the light output and avoid harsh shadows, gel which add various colors to the light and grid to focus the light. What is unique about these accessories is that become part of your flash unit using a magnet for instant attachment. Price for the complete set is $235. For more information please visit MagMod
RL Handscrafts
I received two demos at this booth. One was for their Derringer above left for carrying from 1 to 3 cameras. You wear the strap on both shoulders with wide padded straps that relieve pressure points and back. The straps are adjustable for easy access to any of the cameras. Price is $485. For carrying two cameras, the Clydesdale above right can help you more easily carry your equipment. The strap attaches solidly to the camera’s tripod socket. RL makes several styles differing in weight, padding, air holes for easier breathing, color. Prices start at $205 to $425 for the deluxe version. For more information please visit RL Handcrafts
Sony G Master Lenses
Sony is the undisputed leader of mirrorless cameras. They have been rapidly adding lenses to support their highly acclaimed full-frame models: A7R II and A7S II cameras. Three of Sony’s new lenses made it to WPPI for demoing. These are the 85mm f/1.4 GM, 70-200mm f/2.8 OSS and 24-70mm f/2.8 GM. Prices are $1800, $2900 and $2200 respectively. For the 70-200mm lens, Sony is also releasing 1.4X and 2.0X teleconverters. Sony claims a higher resolution of the G series lenses compared to others and superior auto focus performance. For more information please visit Sony
Spider Holster
Spider makes a holster with a unique locking-clamping device for conveniently carrying your camera at your waist. The holster is adjustable and is worn like a belt to either side. The clamping device is solid and easily slides into the holster for hands-free carriage. Price for the Spider Pro holster is $135. The company also has a variety of heavy duty hand straps that come in a variety of colors. All are made of durable material, attach to the camera with a tripod plate and include a removable wrist strap. Price for the black model is $65 and $75 for other colors. For more information please visit Spider.

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Written by: Arnie Lee
 
 

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New Full Frame Mirrorless

I’ve been using several of Sony’s mirrorless cameras for three years or so. The three models that I regularly use are the NEX5, NEX7 and A6000 each with an APS-C size sensor. All three are compact and lightweight. Both the NEX7 and A6000 have viewfinders – a necessary feature that I expect in an advanced camera.

The A6000 has been my “go-to” camera for the past year. The quality of the images match up to those from the Canon 7D and Nikon D90 but with the added convenience of a noticeably smaller piece of hardware.

With this previous experience with mirrorless equipment, I went to the Sony booth at the Wedding & Portrait Photographers International Expo to have a look at the new full-frame Alpha 7 II.

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The A7II has a full size 24MP sensor in a body that weighs a mere 21 ounces. This compares to the Canon 5D MkIII at 33 ounces or the Nikon D800 at 35 ounces. The physical size of these three cameras are (W x H x D) A7II is 5″ x 3-7/8″ x 2-3/8″ Canon 5D MkIII 6″ x 4.6″ x 3″ Nikon D800 5.7″ x 4.8″ x 3.2″

The A7II shares many of the same features of the A6000 including sweep panorama shooting mode, built in HDR, on board wifi connectivity, electronic viewfinder displays real time adjustments and tilting LCD screen. Unfortunately the A7II does not have a built-in flash as does the A6000. However the A7II records 4K video, sports fast “hybrid” autofocus and 5-axis image stabilization and 5fps still capture.

As far as lenses are concerned, Sony’s mirrorless versions (designated as FE-mount) do not share the same size and weight savings as the A7II body. But given that the body is about a pound less and considerably smaller in size, I felt that the weight savings would be a definite advantage for the type of shooting that I do in the field.

Sony also announced the release of these three lenses for full frame mirrorless:

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The Sony rep also mentioned an upcoming 28mm f/2 lens that will also accept a 16mm fisheye converter and a 21mm ultra wide angle converter.

The suggested price is $2000 and is available about May 1st. For more information about the A7II, please visit Sony.

The bottom line – if you’re looking for a camera that provides the high resolution that only the mid-size format were able to deliver, the Canon 5DS (and 5DSR) has now lowered the entry price by thousands of dollars.

 
 
 
Written by Arnie Lee
 
 

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Light Field Technology

I made it a point to visit all of the booths at PhotoPlus Expo looking for new and interesting products.

At the Lytro booth, I learned a new term: Light Field Technology. With this camera, the direction, color and brightness of the light rays are captured by a specialized sensor array. Afterwards, this information can be “processed” to refocus and change perspective.

The Lytro Illum is a new, second generation camera to capture light field photographs. Lytro refers to these images as “living pictures”. The Illum is fitted with a 30-250mm zoom lens with f/2 constant aperture. It has a 4″ tiling LCD viewing screen and weighs just over 2 lbs.
The fast f/2 lens provides an 8X zoom range. Images are stored on an SD, SDXC or SDHC card. The specialized CMOS sensor has ISO range from 80 to 3200. The camera also has built-in WiFi for transferring images directly to a smart device.
You can preview the images on the LCD and immediately see these living pictures as the focus and perspective change. The LCD is touch sensitive – you can touch the part of the image to refocus. A “Lytro” button displays an overlay on the screen that displays the depth of field of objects, indicating the range of refocus.

Use the included Lytro Desktop software to upload to Lytro’s web (no charge) or to Facebook. Viewers can post comments about your pictures on the Lytro Gallery. When you upload, the software creates an animated gif file that animates the refocusing and change of perspective capabilities.

To see this interesting light field technology, visit the Lytro Gallery where you can experiment with these images by moving your mouse over the area to be refocused. I think it’s an amazing technology.

The Illum is available now at a list price of $1599 includes battery and ND filters (since aperture is fixed at f/2).

Written by: Arnie Lee
 
 

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My 6300-Mile Field Test

On our recent vacation, my camera of choice was Sony’s newest mirrorless camera. While I also brought a much larger Nikon D700 conventional DSLR, I relied mostly on the the Sony A6000. As a comparison, I captured about 150 images with the Nikon D700 and more than a thousand images with the Sony A6000.

My setup was the A6000 coupled with Sony’s 18-200mm lens. This combination is lightweight and compact, produces quality images and just happens to fit beneath the driver’s seat for fast, convenient access.

Hopefully, the following photographic sampler illustrates the A6000’s versatility. I’ll add a few techie details afterwards.

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The A6000 is smaller than a conventional DSLR so it’s both lighter and more compact.	You can compare the sizes of the A6000 next to the conventional Nikon D700 DSLR.
The A6000’s high resolution 24MP sensor renders scenics with very high detail.	Additionally, the camera can capture subjects that have a wide range of exposure levels.
The A6000’s articulated LCD makes it easy to capture stills and closeups.	The much improved focusing system works well for wildlife shots.
With the 18-200mm lens, I can keep dry while still in on the action.	Here’s some quick, responsive focusing
The A6000’s bright viewfinder makes it easy to compose and frame in bright sunlight.	The electronic viewfinder previews the scene with the camera adjustments applied.
It handles action shots well and can capture up to 11 frames per second.	The exposure system works quite well with a wide variety of subjects.
I used the camera’s sweep panorama feature often to automatically produce some very pleasing large images.

I suppose it doesn’t matter than I traveled 6300 miles with the camera other than I used it under a variety of conditions.

My “film” was a 32GB SD card, but I never filled it with the 200 pictures a day (the camera was set to record simultaneous RAW and JPG images). All in all, I’m very happy with the images that the camera produced. The one small gotcha is that the A6000 has a short battery life – probably due to the electronic viewfinder. Thankfully, I had an extra battery that I carried along.

Since this is my third Sony mirrorless camera, you can safely assume that I’d recommend this camera to others. In fact my daughter must have agreed with my assessment and purchased one.

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For those interested, here’s a few of the technical specs for the A6000:

Sony A6000 os a mirrorless with a 24MP sensor. One of the reasons for choosing this camera is its fast and accurate hybrid focusing system that allows up to 11 frames per second capture. Other proven features are its “sweep panorama”, automated HDR capture, easy exposure bracketing, and Sony’s proven video recording.

List price for the A6000 body without lens is $650. The 18-200mm lens cost $850, more than the body but this single lens allowed me to enjoy the scenery without clutter of additional lenses.

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Written by: Arnie Lee

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NOTE: This is a reprint and was originally written in 2005. I remember very clearly when Dad would pull out his large twin lens reflex camera, usually around a holiday, birthday or family event. He would lower his head and look into the lens hood while his hand would reach down to grasp the knurled knob on the camera’s side. I would see the bellows move back and forth as he zeroed in on his focus. Then he’d snap and the shot would be done. We’d wait weeks, sometimes months, to see the results. After all, a full roll of film had room for 12 negatives!

When the film was finally developed, we were thrilled to see the results. Here are two photos, one from the 40’s and another from the 50s, but they both share the same “feel” – the subjects are dressed up for a special occasion, some of them are posed comfortably and others more stiffly, but always in full black and white.

Aunt Emma, Aunt Millie and Mom circa 1940 I took this family picture as a youth circa 1957

In the 50’s, color photos were reserved only for special occasions – owing to the higher expense. While Dad sometimes shot color, the cost of the film and print processing was too extravagant for normal use. But for those special times when he did use color, he would send the exposed film to one of the discount processing services to save money. The downside: developing by mail took an additional week to complete.

I cut my teeth on Dad’s older twin lens reflex (TLR) and a Polaroid Swinger. Using the twin lens reflex was an exercise in patience. With only twelve exposures to a roll of 120 film, you made sure that you had a good shot before you released the shutter. With the Swinger, it was a blast to see instant photography. With today’s digital we’ve come full circle; we have another form of instant photography again.

As a youngster with sparse earnings, I made do with Dad’s second TLR and the Swinger that served as my equipment. I came into luck when Uncle Tom, who was in the Air Force at the time, agreed to buy a camera for me at a huge discount on the Air Force Base PX. This became a lesson in patience: I’d wait a whole year until he returned from service overseas to get my hands on a state of the art Canonflex RM SLR camera.

In the mean time, I learned to develop film and make my own prints. A small corner in the basement became my darkroom. I covered the windows to keep out the light, fashioned a processing area from discarded planks of wood and used Mom’s washroom sink to provide water for the chemicals. I spent many nights mixing developer, stop bath and fixer; processing film and making black and white prints. I started with a basic Testrite enlarger and later graduated to a fancy Durst 606 enlarger with a built-in color filter drawer. I was so immersed into this hobby that soon I learned to make my own color prints. It would take take three hours of preparation to make the first color “test” print and perhaps six hours to get an acceptable “final” color print. I can hardly believe that I had so much patience back then.

To further my interest, something wonderful happened. Mom arranged for me to get a part time job with John Margotta, her past schoolmate who was now a professional photographer. For three years, after school I would head to John’s studio to learn the photography business. In the studio I was his assistant. I would hold lights and set up equipment for weddings, bar mitzvahs, anniversaries, birthdays, modeling shoots, funerals (yes, funerals) and more. I learned about lighting techniques, portrait techniques, posing techniques, action techniques, view camera technqiues and wedding cake cutting techniques too. And of course John taught me many darkroom techniques. I used most of my earnings to purchase more equipment.

My photographic education continued. During high school I proudly served on the yearbook staff as one of the three student photographers with access to sporting and entertainment events. In the following examples, you’ll see that we continued taking black and white photos since the cost of color was prohibitive at the time.

The friendly cheerleading squad of New Rochelle High School circa 1967 Motown’s Four Tops performing at New Rochelle High School circa 1966

During my college years, I completed my formal photo training by working at two different high end processing labs servicing the Madison Ave advertising agencies. In the 60’s, a process called “dye transfer” was used to make photographic reproductions for the high quality magazines like Vogue and Harper. Here is where I learned processing from the ground up: making color separations from original transparencies for printing using cyan, magenta and yellow dyes. Despite commuting between my home in New Rochelle and the photo labs in New York City and the long working hours, I thoroughly enjoyed the job as I continued to learn different aspects of photography.

At college I taught at the photography club and introduced my girlfriend to darkroom techniques. By the way, Kris is now my wife and hates the darkroom. I was a staff photographer for several university organizations and earned extra cash by photographing fraternity and sorority events.

Following college, Kris and I were married and shortly thereafter, photography took a backseat to raising a family, putting bread on the table and becoming involved in the software industry. Although I took and accumulated thousands of photos during this period, the bulk of these were of family faces and of the scenic vacation variety.

Skip forward 30 years to the mid-1990s. My company Abacus, was involved with flight simulation software and I’m taking more and more aviation related photos. I now find myself dabbling in the new world of digital photography. The stars are finally aligned and I’m ready to marry two of my long time interests: photography and aviation. With digital, the equipment and processing techniques are radically different from conventional film photography.

Several years ago, I received a surprise email from John Margotta, my photography mentor from the 1960s. I was happy to hear that at an age of 80+, he’s still immersed in photography. He’s produced some artistic renditions of still life using his “Photoshop-equipped darkroom”. His approach to photography is a lesson that hi-tech isn’t reserved only for the young.

Lucikly, I’m finding that most of the basics that I started learning 50+ years ago are still relevant. After all of these years, I remain very excited and passionate about my love of photography.

Sony’s Newest “MILC” – Mirrorless Interchangeable Lens Camera

I’m apolitical when it comes to camera brands. I use equipment from Canon, Nikon, Sony, Olympus, etc.

When traveling for assignments I carry a quality camera and several lenses. For the past few years I’ve gravitated towards the smaller and lighter cameras. What’s more is that lenses for these cameras are also smaller and lighter too so packing is easier.

My go-to camera is now a Sony NEX7 which is half the size and weight of the Canon 6D or Nikon D800. But the one downside of the NEX7 is its slow focusing speed and accuracy in low light situations.

Naturally I was interested in seeing the new Sony A6000 at the Wedding and Portrait Photographers International Expo last month. This new model addresses the focusing issue by using “hybrid” phase detection for fast response combined with contrast detection for improved accuracy. Sony claims that the A6000 can record an amazing 11 frames per second with continuous autofocus. Whether shooting still or video this is a welcome and impressive feature packed into a camera this size and cost.

The A6000 is similar to my NEX7 in many respects including a 24 MB APS-C sensor and an electronic viewfinder (EVF). I find the EVF essential when using any of the interchangeable lenses rather than relying on the rear facing LCD screen especially in bright light. Another advantage of the high resolution EVF is that it displays a preview as you make exposure and/or white balance adjustments. The bright, tilting LCD lets you shoot from a low viewpoint without having to kneel or from a high viewpoint without having a ladder.

The A6000 at WPPI was equipped with a 18-50mm lens. Sony calls it a PZ “power zoom” in that it has a small button which automatically zooms in and out when depressed. When retracted this camera/lens combo is quite compact, yet it fits comfortably in my hands. The specs say that the camera body weighs less than 13 ounces – how’s that for a weight saver?

The A6000 has most of the same features of the NEX7 such as in-camera HDR, sweep panorama and multi-frame noise reduction. For me a bonus is the built-in wifi for transferring images to a mobile or computer device and the downloadable apps (for an additional charge) such as time lapse, automatic backup, photo sharing.

The Sony rep told me that the A6000 will be available about April 23rd. Price for the A6000 body is $649; for the A6000 with 18mm-50mm PZ lens is $799.

I have an A6000 on order and am looking forward to this as an upgrade to my NEX7.

Written by: Arnie Lee
 
 

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