Things Digital. Mostly Photographic

Landscape photography is, as I discovered most of 25 years ago, nothing more than being a good technician, a passable artist and, most importantly, being there, set up and ready to shoot. These are the minimum qualifications. The ideal is to transcend the first two and to work hard in order to do so as often as possible.

f/8 and be there. With some lenses, f/11 and be there… If you hauled in a view camera, f/22 and be there…

A shooting day starts early, silly early, and ends only after the sun has set, the sky has gone dark, and a place has been found to spend the night. The middle of the day, when light is irredeemable, is spent looking for pictures, catching up on paperwork, planning, napping (see getting up early and going to bed late above) and traveling from here to there (the photography is almost always better there than it is here.)

Even as I’ve gone away from film and towards digital, the rhythm of shooting landscapes has barely changed.

A Very Simple Digital Workflow for the Landscape Photographer

1. Shoot exclusively in RAW. There are reasons to shoot JPEG but landscape photography is surely not one of them.
2. A bad memory card will cause heartache. Buy name brand memory cards and buy them in intermediate sizes. I’ve settled on 8 Gb Sandisk Ultra III for both Compact Flash and SDHC cards. No failures after thousands of frames.
3. A lost memory card will cause even greater heartache. Store them in a safe, dry place with two zippers between the card the outside world. Three zippers is better. Four zippers will, sooner than later, piss you off. Open the zippers to get to your card stash and, now this is where some folks get confused, close all the zippers when you are done.
4. As an aside… Cameras that write to multiple cards only seem expensive.
5. Back up your work each and every day.
6. I back up onto two Hyperdrive Space memory card backup devices. The Hyperdrive Space is a simple, relatively cheap and, very importantly, fast device. I use two because every hard drive every made has or will fail. I bought mine as empty cases and currently have Seagate 160 Gb hard dives installed. This is far cheaper than buying them with hard drives pre-installed.
7. One of the Hyperdrives stays with me at all times. The other Hyperdrive is always separate and as well hidden as I know how.
8. I rotate through my three sets of memory cards. This gives me, for a day or two, a third back up for the most recent image files.

I got sucked in…

Normally I have the good sense to steer clear of photography forums. Too often these are the hangouts of folks with firmly held opinions unencumbered by facts.

I’m more of a facts type of guy.

The 5D Mark II seems to have brought out all the usual suspects. Among the poorly reasoned arguments and tortured logic presented as facts is the persistent complaint that Canon was wrong to put a 21 MP sensor in the 5D Mark II. Except for landscape shooters and maybe some commercial types, no one needs that many pixels. In an homage to all that Nikon can serve up at the moment, the consensus seemed to be that 12 MP is, and will continue be, all that most folks need.

I currently shoot with a 21 MP 1Ds Mark III and also shot the original 12 MP 5D for most of two years. Assuming that Canon has retained the image quality of these two cameras (and early samples seem very promising) it is my experience that more pixels are better than fewer.

I hate dislike vertical 3:2 aspect ratio images. It is, more often than not, just too damn tall. I much prefer the a traditional 4:5 vertical crop.

21 MP gives you the luxury of tossing pixels out and doing so without remorse. The standard 5624 x 3736 pixel 1Ds3 capture is reduced to 4887 x 3736 when cropped to 4:5. The crop results in a 50 megabyte tiff file. The math is far less favorable to a 12 MP camera. The original 5D starts at 4372 x 2906 pixels and drops to 3310 x 2650 when cropped to 4:5. The cropped tiff weighs in at 25 MB.

Similar arithmetic applies to horizontals. Here 3:2 is tolerable but something more like 2:1 or it’s close HD cousin 16:9 look even better.

For the folks who just can’t seem to afford all the storage that larger RAWs and JPEGs produce. With one terabyte bare drives costing $160 or less, storage is the cheapest thing in my photographic ecosystem.

And if you are still unconvinced. Canon feels your pain. In addition to two reduced size JPEG sizes, the 5D Mark II has two pint sized RAW file sizes. sRAW1 is a 10 MP capture and, in an homage to the omnipresent web banner, sRAW2 weighs in at 5.2 MP.

This was my third trip to Iceland and I my first solo trip. Traveling alone allowed me to be nothing other than a photographer and traveler. It also meant that all the work of making and breaking camp, cooking meals and making decisions were all mine and mine alone.

So what worked and, inevitably, what did not work (at least to the extent that it is worth complaining about?)

There and Back

jetBlue / IcelandAir – jetBlue handled the direct round trip flight to Boston Logan and was kind enough to wave the (then) newly instated second bag fee. That won’t happen again… The red eye put me and my luggage in Boston 7 hours prior to IcelandAir finishing the trip. My IcelandAir flight was the first of the day so I was stuck with lots of luggage and little sleep until the IcelandAir ticket window opened 5 hours of so after I landed. I was beyond happy to get rid of my luggage.

Especially when compared to jetBlue, IcelandAir seems like a blast from the past. All women cabin crews in tailored uniforms and giant row filling stainless steal carts are the most obvious contrasts to jetBlue. Older 737′s with very little in the way of inflight distractions is another. The fact that they continue to serve meals also makes them a vanishing breed.

And in a final homage to times gone by, both the outbound and inbound Boston to Reykjavik flights were on time.

I will complain a bit about the schedule. IcelandAir hubs in Reykjavik and the flight is timed to land in Europe in the early morning. That is fine if, as most of the people on the plane were, you are headed for Europe. If you jump of in Iceland you wander up to the rental car counter after midnight still facing a 45 minute drive from the Airport into the big city.

Thanks largely to the German cartographer at ourfootprints and my trusty Garmin Nuvi, I drove directly to my favorite place to stay in Reykjavik, GuestHouse Anna. Anna’s is located near the transportation terminal should you take the airport bus into Reykavik. It is also an easy and welcomed walk from Anna’s to the Reykjavik city center. Anna’s is a nice and fairly priced place and she is a gracious and properly eccentric host.

The first batch of hand-made images from my most recent trip to Iceland are up over at WilliamSmitheyJr.com.

More to follow…

Enjoy.

Long ago I found the commercially available camera backpacks to be over-engineered, too heavy and too costly. Sure, encased in pounds of high density foam, your equipment would likely survive a drop of 30 feet. But, I asked myself, how often is this an issue?

My 4×5 equipment lives in a Dana (RIP), front loading Pack with the camera and lenses all safe in Gnass Gear (RIP?) cases. The pack is made for backpacking and other backcountry uses and easily carries 35-40 pounds. The camera infrastructure, the pack and the dedicated bags, weigh just 6 pounds (contrast this to the roughly equivalent Lowepro Photo Trekker which is nearly twice as heavy.) I figure it’s good for no more than a twelve foot drop. No, I’m not going to test it.

As I collected digital camera gear my first impulse was to go the build-it-yourself route. Once again, I needed a pack that was designed to carry well and was a front or panel loader. These are scarce and the ones that are available all had the same flaw – the front “rainbow” zipper stopped far short of the bottom of the pack

As Mark Dubovoy discovered and writes about over at Luminous Landscape the folks at RPT have a nice solution for large format types. The combine a modified Kelty Redwing Pack and custom lens cases into a decent carrying, lightweight system. And, to their everlasting credit, they modify the Redwing Pack so that the front panel zipper extends from the floor of the pack. But the system is intended for large format use…

So I bought one intent on making it work for DSLR cameras and lenses. A visit to the local Real Camera Store ™ solved the problem. Pelican makes a padded divider that fits perfectly and they had one in the back. No I don’t have the model number. Here is the link to the Pelican Case Accessories Page - it’s there somewhere.

The RPT Modified Redwing Pack with the Pelican Case padded divider weigh very little, provide plenty of protection for gear and look like this:

But, this nice carrying, light weight combo is too large for international carry on.

So I fly with a Lowepro All Weather Mini Trekker , which is internationally flyable. The RPT/Pelican Pack collapses well and is packed inside one of my two rolling duffels. I’m 6’2″ and the Mini Trekker is simply unwearable in the field. The pack is too small in every way but in particular, the waist belt is useless and your shoulders take the entire load.

Note how much longer the torso is on the RPT Kelty pack (left.) Also, it is nicely adjustable and has a real, “glad to help with the load,” padded, adjustable waist belt. The dog is Zach and really wanted to be part of this picture. So he is.