Nikon D200 + Nikkor 17-55mm f/2.8 @ 55 mm — 1/1600 sec, f/4, ISO 400 — map & image data — nearby photos
What am I?
Today's “quiz” is sort of fake.... those familiar with Japan will be able to figure it out within a few seconds, while those who aren't won't get it at all. I'm putting it here just because those few seconds of trying to figure it out can be a bit eerie. That odd feeling is sort of fun, so I wanted to present this photo out of context to allow people to experience the “uh.............. okay, got it” feeling for themselves.
There are still a few traces of fall colors around Kyoto, one of the nicest in the little common garden area of my condo building. One of its trees is just at its peak color now, turning a vivid rich red when hit by direct sunlight, or, as happens every evening, by direct incandescent floodlights.
It's nothing special 10 minutes after sunset....
... but hours later, it's positively glowing....
None of these pictures really do it justice. Just like the other foliage backlit by floodlights photos I posted earlier in the season, the intense light causes detail and color to be lost. For example, there was no hint of yellow in the leaves that appear in the first photo, but since the leaves at the end were closer to the light, their red got “blown out.” (See Why Does “Brightness” Wash Colors to White?)
Nikon D200 + Nikkor 17-55mm f/2.8 @ 40 mm — 1/320 sec, f/3.5, ISO 250 — map & image data — nearby photos
Snow in Kyoto
this past February
Kyoto doesn't get much snow. The surrounding mountains get plenty, but the city proper might not get any real snowfall all year, or maybe up to a few mornings of accumulation a season.
It's already been cold enough for snow... the temperature has dipped to freezing a few evenings, although during the day it's still bout 10°C (50°F). But since many in the Northern Hemisphere are already seeing their first snows, I thought I'd post a few more pictures from the few snows Kyoto had last winter.
The shots on today's post are from one morning in February were Anthony and I walked to the Heian Shrine in the snow. The shot above is on the bridge nearest our place; other photos from the bridge (including comparisons of the view during cherry-blossom season) appeared at the time on my Snowy Bridge in Kyoto post.
Walking along...
Nikon D200 + Nikkor 17-55mm f/2.8 @ 55 mm — 1/640 sec, f/2.8, ISO 400 — map & image data — nearby photos
Undisturbed
for the moment
Nikon D200 + Nikkor 17-55mm f/2.8 @ 35 mm — 1/640 sec, f/2.8, ISO 400 — map & image data — nearby photos
Bikes at the Museum
Since it rarely gets more than a few degrees below freezing, snow remains very sticky, and so piles up thickly on even the thinnest surfaces, such as the brake cables of the bikes.
Just looking at this statue of a samurai in front of the library made me shiver...
Nikon D200 + Nikkor 17-55mm f/2.8 @ 55 mm — 1/640 sec, f/3.2, ISO 400 — map & image data — nearby photos
Frozen in Time
It was here that I took the snowy crow shot.
At the playground, Anthony reveled in the chance to wreck the virgin snow on the slide...
Nikon D200 + Nikkor 17-55mm f/2.8 @ 55 mm — 1/320 sec, f/5, ISO 400 — map & image data — nearby photos
It's Mine, All Mine.... Bwahahahahahahaha
Nikon D200 + Nikkor 17-55mm f/2.8 @ 32 mm — 1/250 sec, f/5, ISO 400 — map & image data — nearby photos
Giddy with Excitement
The only-the-subject-has-color treatment of the shot above is cliché, but except for Anthony the scene was almost monochromatic to begin with. The other color in the scene – the slide and some traffic signs in the background – were just distractions, so I desaturated them.
Nikon D200 + Nikkor 17-55mm f/2.8 @ 55 mm — 1/180 sec, f/5, ISO 400 — map & image data — nearby photos
pleased at having destroyed the virgin snow, grinning like a
Cheshire Cat
Working our way toward the shrine, we came to the corner in front where Jingu Michi (“Shrine Street”) dead-ends....
Nikon D200 + Nikkor 17-55mm f/2.8 @ 45 mm — 1/350 sec, f/2.8, ISO 400 — map & image data — nearby photos
Heavy Snow
for Kyoto
Inside I took one of my all-time favorite photos, of Anthony enjoying the snow. I'll share more from inside in a later post.
Nikon D700 + Nikkor 70-200mm f/2.8 @ 200 mm, cropped — 1/200 sec, f/2.8, ISO 4500 — full exif
LensAlign In Action
with my Nikkor 70-200mm f/2.8 zoom
Almost two years ago I created and released my autofocus test chart, for testing the autofocus accuracy of a camera/lens combination. Accompanied by a detailed discussion about how to test autofocus, and of issues that might crop up, it has garnered a lot of attention. My daily logs tell me that it's still one of my most popular posts.
About a year ago, I was contacted by Michael Tapes of Michael Tapes Design (makers of the popular WhiBal white-balance reference card). They were working on a device to allow much more accurate/repeatable testing than my chart allowed, and he wanted to discuss my chart and my autofocus-testing experiences.
A year and many discussions (and many prototypes) later, they've finally released their LensAlign Focus Calibration System. It's better than my chart in every way, except price (my chart is free, and you can't beat that).
Speaking of free, I should issue an anti-disclaimer: I was not paid for my consulting, nor for ideas from my chart that have been incorporated into LensAlign. I had/have no financial relationship with Michael and his company. I freely gave of my time, opinions, and designs because in the end, I benefit from having this product available to me. Along the way, I sort of figured that I'd get a free unit once it was done, and indeed, a final prototype arrived here in Kyoto yesterday.
The unit I received yesterday (shown above) is essentially the same as from the production run of the “Pro” version they're starting to ship this week (which is apparently already sold out). The timing was sort of bad for me because I've been insanely busy, but since I've been itching to try this final version, I spent a few minutes with it this evening.
You can read a detailed discussion of what LensAlign is, why it's good, and how to use it at Imaging Resource so I won't repeat that here, but I'll say that a lot of effort and testing has gone into this design to make it very good at what it was built to do. One of its key features is how the design allows you to ensure that the focus target is absolutely parallel to the image sensor, and how that assures you of a repeatable, understandable result, every time.
Adjustment-Mode Bull's Eye
Sighting Site “B”
I took these test shots hastily in my poorly-lit living room this evening (at ISO 4500!), but it's still pretty easy to see that the lens I used is in good shape (which it should be, since it went to Nikon twice for calibration). Now that I have this final production unit, it's very high on my todo list to check all my lenses (and when I do, I'll write up more about the LensAlign testing procedure).
First, though, I need to get the appropriate mini/full HDMI cable to connect the camera to my TV so that I can view the D700's “Live View” while in front of the lens, adjusting the position of LensAlign. I was disappointed when I checked the D700's box and found no such cable, only a lower-quality composite cable, so I had to settle for that. Neither HDMI nor Live View are required when using LensAlign, but they make the setup easier.
Again, I'll write more about it after I test all my lenses, but I wanted to mention the product right away because I know some readers will be excited about getting one. It can be ordered from Michael Tapes Design.
Nikon D200 + Nikkor 85mm f/1.4 — 1/160 sec, f/1.4, ISO 800 — map & image data — nearby photos
Uncharacteristic
“I explained that where I come from urination is a private affair...”
Continuing along the lines of my previous two posts (on garments with silly English, and a confusing traffic sign), this is a picture I snapped last year at Osaka Castle Park when I was visiting with friends (and doing impromptu portraits and dodging paper airplanes).
It is, of course, the plainly-visible urinals on the men's half of an outside public bathroom near the castle.
I titled the image “uncharacteristic” not because of the visibility – most outside public bathrooms are more or less like this – but because this particular bathroom is much more clean and well lit than you're almost ever likely to find.
Alice Gordenker at the Japan Times (a national English-language daily) delved into this somewhat unnerving subject in her always-entertaining “What the Heck is That?” column a couple of years ago:
So, What the Heck is That? — Men's Restrooms
It's a funny and enlightening read; the quote at the top of the page is from the article.
I've referenced Alice's columns before, in posts about golden poop and tree bondage.