Suzuki DL650A V-Strom News Photographica USA

Black-to-Silver Wheel Transform

2009-03-09T21:15:00.006-04:00

My stock 650 V-Strom was black in too many places - including the wheels. It stripped the bike of personality and a degree of visibility, which I have made a priority since Day One. A fellow Strom forum member had done this treatment to his bike, so I finally found a weekend to turn around this transformation on mine.

Prep was typical automotive de rigeur with 400-grit sandpaper removing the majority of the original black paint without scratching up the cast wheel surfaces. Taping under the wheel lip at the tire joint and across mating surfaces for brakes and sprocket parts came next. A newspaper masking 'wrap' around the exposed tire had me ready for the fun stuff.

I placed a paint-ready wheel on some clean cardboard atop a fullsize plastic garbage can - a perfect height for spraying around the wheel without moving it. A simple flip and both sides can be painted in just minutes. Changing out the cardboard after both the primer and paint cycles kept dust and other issues to a minimum.

A thorough cleaning with paint prep solution got me ready for priming. Duplicolor's Etch Primer went on first in several light coats before a few 'wet' coats were applied. Within 30 minutes I was prep-washed again and applying color - Duplicolor's Silver Wheel Metallic. Similar light-then-'wet' coats were down in another 30 minutes.

Lastly, several coats of Duplicolor's Clear Coat polished off the project. An hour later, I was peeling off the masking materials and placing the wheels where they would safely dry for the next few days. Results? My HD-riding next door neighbor said they looked factory - can't get a better compliment than that, huh?

It was really pretty easy as long as you follow Duplicolor's paint instructions, which means my errors are basically invisible and anyone else can pull this mod off with some patience and close attention. Better get started, though - spring is almost here!

SparX Corsa Full Face Helmet Review

2009-03-08T22:22:00.014-04:00

Introduction
Along with full face protection, I wanted a little visibility for my money and a splash of color to add to my black jacket and metallic gray bike paint. My SparX Corsa full face helmet is one of their 2007 S-07 street series models. As a $79 closeout with free shipping from Revzilla, it was a slam dunk decision but not before reading up on its qualifications. The Corsa's classic red/white color scheme is a cool Italian throwback - the other S-07 models are highly attractive, more contemporary black/grey graphic designs.

The SparX S-07 lineup was given the thumbs-up for price/quality by many reviewers/owners. Other than a thinly disguised slam by an unidentified rival, they challenge the price points of many helmets which is good news for the rider who cannot justify a $300 Shoei - and can live without the added features.

Construction
A thermoplastic design, the SparX S-07 line is lightweight but rugged. I detected no flex or cheapness in its build. Fit and finish were excellent with quality materials and workmanship clearly evident. The Sparx S-07's are made with a removable liner, D-rings and snapping neckstrap, clear visor and mouth/brow/forehead ventilation, as well exhaust vents at the rear. The mouth vent sends air up in front of the visor - not at your face. This worked well with additional brow vents just below the visor's top edge. At speed, this design is above average for a tightly filled space with your head in it.

The visor received a low score by some on ease-of-operation with just one small side tab for opening it. I anticipated some aggravation but had no trouble cracking it open to the first clickstop easily with a gloved thumb/forefinger manuever.

What bugged me more was the neckstrap being placed aft of an ideal location under my chin and that the strap snap is in a tight spot under the padding. Truthfully, the strap location wasn't a big issue and the strap end is short and doesn't necessarily need to be snapped up.

There is also an elastic retainer for your earplugs to keep them handy - a nice touch and noble effort toward ear protection advocacy. A substantial helmet bag finishes this quality product's features.

Internal fit was spot on and very comfortable with good padding all around. The cheek pads were much more comfy than I anticipated and felt fine throughout the afternoon - they will get better over time. One thing I will miss is being able to take a drink of water or pop some chocolate in my mouth while riding (note to self: get a squeeze bottle). Overall, the SparX is a huge improvement over my more spherical HJC open face CL model which is now officially replaced.

SparX's are DOT and ECE 22-05 safety rated - for a nice read on the Snell vs. EC 22-05 controversy, read this test report for further insight on US and European performance standards.

Performance
As my first full face, I was initially hesitant about crammin' my heads into one of these designs, but the Sparx cured me almost immediately. On my trial run with the Corsa, I rode for 4 hours and enjoyed myself immensely - having springlike weather was a plus.

I tried the Corsa out three ways - without earplugs and cracked at the first visor opening, without earplugs and visor closed, and then both 'cracked and closed' with ear plugs. To be honest, any of 'em was fine with me on a cool day. The SparX Corsa was sufficiently quiet open or closed, but earplugs and a closed visor gave me the serenity needed for truly enjoyable riding.

Conclusion
SparX offers a 5-year warranty and free helmet replacement with a submitted police report in the event of a crash - a unique approach to developing brand loyalty! For my first full face, the $140 retail-priced SparX Corsa is a great choice - and a response to the demand for cheaper, high quality head protection in the 'new' economy.

SparX's Customer Service (800.595.0080) will confirm an accurate fit based on your existing size and brand - give 'em a call.

FX or DX? That is the Question...

2008-12-15T22:14:00.003-05:00

Without getting too controversial, the typical trend toward further development in FX bodies is pressing the above question. So which way do you need to go? It's not likely Nikon will drop the prosumer DX line right away, but eventually DX may not be necessary. What!? Well, how many 6-megapixel DSLRs are there anymore? And how many current 12-megapixel bodies do we have to choose from? Get the point? Older and smaller body models are being phased out faster than ever - and unless Nikon makes a 14-20 megapixel DX body, there's isn't much room left in the AP-C format to grow.

This postulates what the future might be - the rise of FX bodies in the same manner as recent DX models. Instead of a new D60 or D90, we should see the D600 and D900 - FX models created to fill a price point with the continuing feature sets Nikon develops for new cameras. Honestly, I would go bonkers if a D700 base model was developed for under $2000. Would I buy another DX model if it were? Maybe - maybe not...

Our glass collection is the major factor. Obviously. So we need to decide if it's time to reconfigure our kits while these lenses still have any value. Many are problematic. Some are classics. The bottom line of cost over time is more important. Personally, I've spent as much on lesser lenses as I could have on pro glass - and I'm not proud of it. For economic reasons, Nikon isn't overly interested in adding top level performance or extreme focal ranges for DX optics. This presents limitations to the DX lineup as well.

Therefore, I'm moving forward to FX glass - first for the quality and secondly for some longevity as FX rises into the mainstream. The typical DX customer isn't looking for premium glass but will spend an equal amount over time trading up to better versions.

Which one are you? Time will tell...

FX: On the Rise!

2008-12-15T21:16:00.010-05:00

Like many serious shooters, you may be wondering if there is any wisdom in continuing to acquire DX lenses with the introduction of FX bodies like the D700. Eventually, economical full-frame sensors will find new bodies to live in and make any DX body a lesser choice for lower noise at higher ISO's and greater dynamic range - this applies primarily to stock images and more critical assignments.

Therefore, my strategy for purchasing lenses has changed for the better - pro glass to be more specific. With FX bodies on the rise, I expect to be shooting in that format within a year or two, so it was decisionmaking time regarding any new glass I would acquire. As a result, I have added two of the best zooms Nikon makes to my stable while shedding a handful of older DX and AI samples. They will perform beautifully on my current D300 and D40 DX bodies until I begin to acquire an FX body.

D200 with 14-24/2.8 Nikkor

A few 'for sale' posts were setup in photography forums this month to sell off my 18-70 Nikkor, 10-20 Sigma, a 35/2 AI Nikkor and an even older 135/28 AI'd Q Nikkor. (I've already liquidated other older lenses like the 180/2.8 AI, 70-300 ED and several pre-AF-S DX consumer zooms.) These recent sales netted me half the cash needed to finance my latest pro zoom, the new 14-24/2.8 G ED AF-S IF Nikkor. (When I realized the cost difference of just $300 between it and the otherwise excellent 17-55/2.8 DX Nikkor, it was a no-brainer.) As a new standard in superwide performance, this FX design effectively obsoletes the 14mm Nikkor prime, making this pro zoom a valid substitiute for all previous designs. Combined with the new 24-70/2.8 VR and 70-200/2.8 VR models, you have a full range of focal lengths that offer excellent wide open performance, high AF speed and top optical results under any circumstances.

This decision came on the heels of my first pro glass buy earlier this year - the 70-200/2.8G ED AF-S IF VR Nikkor - likely the most popular and first pro glass choice by most amateur/semipro shooters. Everyone seems to have one. Nothing prepared me for the image and build quality of this classic midrange tele. VR technology enables handheld or monopod shooting for much greater flexibility and response to imaging opportunities. And the wide open performance extends the use of lower ISO's under lower light levels. To my surprise, it also works beautifully with my $125 Kenko 1.4 Pro Teleconverter producing perfectly sharp images while retaining all lens functions.

This trend toward FX-ready optics is being followed by many forum participants who have run the course of prosumer glass and are also looking to the future now in their lens choices. If you never intend to graduate to an FX body, this is not necessary for producing excellent images - Nikon makes a number of DX zooms worthy of your attention. Several I like include the 17-55, 16-85 VR , and 70-300 VR. Although optically slower and offering lower performance wide open, they are more than sufficient for well lit subjects and flash photography.

Make no mistake - FX pro glass is an investment and any choices should be made with more care than we may have used with our DX choices. But each one is also a keeper - prized optics that will serve for a lifetime as we move into the FX format and offer a greater return over time.

10.5/2.8 Fisheye Nikkor

In addition to adding these two jewels to my kit, I became enamored with Nikon's 10.5/2.8G ED AF-D DX Fisheye Nikkor - a fullframe design with speed and sharpness to boot. Fortunately, I managed to acquire a perfect, used sample for 2/3 of the retail cost, making my potentially last DX lens purchase even sweeter. Presenting a whole new perspective on composition, I spent an exploratory afternoon shooting in downtown Knoxville, Tennessee, which you can view here: A Fisheye View of Knoxville.

D700 vs. D300, D200, D40 Viewfinder Comparo

2008-08-12T16:59:00.003-04:00

Viewfinder performance is an all too often overlooked specification as megapixel count and the latest whizbang features dazzle the eye and mind of todays' digital shooter. But in the old days, Nikon's 100% viewfinder cameras were state-of-the-art for accurate, pro level performance - and they gained a venerated status as a result. Not entirely so today. Rare is the full size viewfinder, and yet, many are the complaints of a less than ideal experience with today's hardware - in part due to the scaling back of this critical design element.

For those who have owned a 100% viewfinder camera, you know what I'm talking about. For the rest, what you don't know hasn't hurt you. Until now. An interesting comparison of the D700, D300, D200 and D40 viewfinder might influence your next purchase simply based on this spec. We spend so much time looking through these devices, I thought it was one of the more critical areas of concern. What do you think?

D700 Viewfinder
Viewfinder: SLR-type with fixed eye-level pentaprism
Diopter Adjustment: -3 to +1 m-1
Eyepoint: 18 mm (-1.0 m-1)
Focusing Screen: Type B BriteView Clear Matte VI screen with superimposed AF points and framing grid lines
Frame Coverage: Approx. 95% (vertical/horizontal)
Magnification: Approx. 0.72x (50mm f/1.4 lens at infinity; -1.0 m-1)

D300 Viewfinder
Viewfiner: SLR Type, fixed eye-level Pentaprism type; built-in diopter adjustment (-2.0 to +1.0 m-1)
Eyepoint: 19.5mm (-1.0m-1)
Viewfinder Frame Coverage: Approx. 100% (vertical and horizontal)
Viewfinder Magnification: Approx. 0.94x with 50mm lens at infinity; -1.0m-1

The differences are obvious. Now compare this info with the lower end D40 body viewfinder specs.

D40 Viewfinder
Viewfinder: Fixed-eyelevel penta-Dach-mirror type; built-in diopter adjustment (-1.6 to +0.5m -1)
Eyepoint: 18 mm (-1.0 m -1)
Focusing Screen: Type-B BriteView Clear Matte screen Mark V with superimposed focus brackets
Viewfinder Frame Coverage: Approx. 95%
Viewfinder Magnification: Approx. 0.8x with 50mm lens at infinity; -1.0m-1

Why, even the D200 outperforms the D700 handily - its specs can be considered a minimum performance for a pro level camera:

D200 Viewfinder
Viewfinder Frame Coverage: Approx. 95%
Viewfinder Eyepoint: 19.5
Magnification: 0.94x with 50mm lens at infinity

Very interesting. A new $3000 body has less magnification and the identical eyepoint of a $400 Nikon body. When it comes to a key feature for any camera - looking through it - we need to remain aware of Nikon's efforts to consumerize camera design when price advantages translate into feature compromises. This is a more drastic one considering the D700's price tag, IMHO. Am I to expect the view within the D700 to be similar to that of a D40? (I have a D40 and use it less and less due to its squinty viewfinder experience compared to the D300. It's basically a backup body at this point.)

This was also one of the reasons I opted to buy the D300 - viewfinder performance is a pro level 100% with a .94X magnification - and, believe me, you can see the difference. Bright, open and easy on the eyes, you can practically 'look around' the image and study it during composition. Owning a pro level Nikon has always been a dream for me, and the D300 has made it come true as it continues to be the most unique offering in the Nikon lineup today - for now. 'Priced to sell out' is how B&H is describing the D300 - and Adorama no longer has any new stock for sale. The writing is on the wall. At $1624 on the street, it represents a bargain in what Nikon calls their "compact professional DSLR". No other currently available Nikon DSLR has a 100% viewfinder but the D3. In view of the foregoing comparison, doesn't that scare you just a bit?

If you've read this far, you will appreciate the following information published at Luminous Landscape on the viewfinder - "the single most important user interface on any camera". Their advice clearly steers us toward the better viewfinders of the D200, D300 and D3 specs for pro level cameras. The D700 is underqualified for its price point. Buyer beware...

Understanding Viewfinders

My New Identity is Here...

2008-07-26T14:05:00.003-04:00

It's been coming for a while and now I see it's the only way I can go. I've no time to think, little time to compose, and the situation is never going to change. It's time dated. Short lived. Measured in minutes - not hours. Nothing can be repeated. Nobody waits for you. You work with what you have and must always be ready - until it's over.

What kind of situation is this?! Job interview? Tax audit? Oh, no - I'm talking about wedding photography!

Every location is new. Every customer is different. Every group of people is unpredictable. All of this is designed to test your preparedness and nerves, not to mention your manners.

Being in control of yourself is the key to success. The ceremony is predictable - cover every minute, literally. Shoot until people start looking at you funny. The family/friends group shots are cut and dried - you're in charge and they will turn out fine. But catching people in their most natural state and making good images of them can be two different things. (She's ugly. He doesn't smile. Will someone check their pulse, please?)

So, you put on the charm and coax them into a romantic mood with promises of fabulous photos for their efforts. If they believe you, there's a chance you'll get some shots even you will like. If not, they can't say you didn't try. Usually, something good happens and if you apply one of the aforementioned dictums, you will have a decent shot of even the worst subjects.

Are they all like that? Not at all. When the mood is festive, the location is engaging, and people are ready for the event, it can be a fantastic experience. But the rules don't change and you gotta come home with the goods. So, shooting voraciously is de rigeur. Don't stop and enjoy the moment - shoot it!

But more truly is better - a more picturesque location begs for creative coverage. Well dressed people are portrait practice potential. Attractive rooms become interior design challenges to show off the wedding decor. Late afternoon sun, the swimming pool, the dinner tent - each adds extra dimensions to what you can record - so do it quickly! Time is running out! Light is fading - people are moving. You are the only constant in this human drama. You're not there for the same reason they are. They will want to see this day again - and that's why they hired you.

Taking advantage of creative timeframes is a luxury. Most couples don't spend all day getting married like they use to. You get 3-5 hours to perform your miracles of modern photography and what you can cram in that space in time is all you get to work with. So revel in the opportunities to shoot in a garden after the ceremony and before the reception takes control of your time. Build in a half hour at a guaranteed location that will deliver cool personal images. You'll make a bigger fee, sure, but you'll feel even better for the images you gained.

All this is wrapped up in wedding photography - and it is a blast. You perspire. You improvise. You cajole the kids and compliment the bride's mother. All to get that elusive image that turns you on. Your images will tell the tale. You are a wedding photographer!

Lessons Learned in Lightroom

2008-07-22T08:37:00.003-04:00

Here's a great example of the recovery potential in RAW images with Lightroom's powerful Develop tools. This image was heavily overexposed, especially in the bright area representing his shirt. Had this image been shot as a JPG, it would be unrecoverable. Not so with RAW! What a transformation! Exposure, saturation and detail is all there...

Original RAW

Recovered RAW

Moral of the Story During camera exposure, push that histogram as far to the right as possible and don't delete those blown files until you've checked them out in LR - even a couple of stops of overexposure can be corrected on many shots.

PS I've also made it a practice to move the Recovery and Blacks sliders to adjust exposure - then adjust Fill if needed. With big corrections, the Exposure slider can tend to reduce saturation and contrast and complicate the process. Also, the Auto button often adds excessive Black values in the shadows portion of the histogram. This worries me as I prep for printmaking, so I manually adjust Black levels to just touch the left side of the histogram to retain maximum detail in dark areas.

High ISO and FP Flash Fun

2008-07-21T00:10:00.004-04:00

When you need high shutter speeds to capture action in early evening situations, nothing impresses more than theD300's higher ISO's and FP flash. Shot a few images at a pool party tonight while experimenting with this approach - here's a couple keepers with some added manipulation in Adobe Lightroom.

DSLR D300 w/ 16-85/3.5-5.6 VRII
Flash SB-800 Speedlight
ISO's 1800 + 6400

6400 ISO @ 1/1000 f5.6 w/ +100 Sharpening (Amount, Radius, Detail), +100 Luminance NR

Produced a very cool grainy effect and revealed decent image detail...

1800 ISO @ 1/1000 f5 w/ +100 Blacks, +100 Clarity, -100 Vibrance,

High contrast and color shift adds a different look...

The D300 and SB-800 work beautifully together in creating images from 1800 to 6400 ISO's - add FP flash and you have a powerful nighttime image machine at close quarters.

The Wedding Shooter

2008-07-20T00:11:00.004-04:00

You know how some people want your exact settings to replicate when they try something? I used to get irritated by that, but this time it might be useful. My familiarity with the Nikon D300 is growing, and combining my experience with the SB-800 Speedlight, Auto ISO, D-Lighting and other Nikon technologies is making this business a lot more productive - and fun.

On this three-hour assignment, I shot 703 RAW images at an outdoor wedding in sunny 96-degree weather. Here's what I used and how I did it:

Location Outdoors (backyard wedding)
Lighting Direct sun > open shade > late afternoon cross lighting

DSLR D300 w/ MB-D10 Grip
Lens 16-85/3.5-5.6 AF-S VRII
S Mode set to 1/250th
AF Mode AF-S and AF-C (as needed)
Apertures varied from f5.6 - f6.3 (with flash)
Auto ISO activated (never left base ISO with SB-800 in use)
D-Lighting Normal level
NR Off
Matrix Metering used in shaded areas (with no sky in the frame)
Spot Metering for bright and mixed lighting scenes
SB-800 iTTL and set as fill on D300

Initially set to ISO 200, I later moved the base ISO to 400 to get a smaller aperture, but that was about it. Shot in S mode with the shutter pegged at 1/250th with fill flash selected and the SB-800 picked the apertures - between 5.6 and 6.3 for the most part, but I didn't really pay any attention since the 16-85 has already proven to me that it can and critical even shoot wide open very well. Made a few adjustments along the way to soften the fill flash, etc. but generally kept an eye on the histograms and worked toward an ideal exposure for each frame.

I'm more impressed with the D300/SB-800 combi than the last time I did a wedding - mainly cuz I know more of what I'm doing! Used to freak a little when shooting in direct sunlight, but now I just don't worry about it. I find the right level of fill (via the histograms mostly) and spent very little time dealing with the camera at all - just shot, chimped and went back to shooting. Even as late afternoon cross lighting began to appear, I did nothing else to control exposure - the D300 and SB-800 did just fine on their own.

AF was sufficiently quick - quicker really in AF-C cuz it doesn't have to confirm focus before firing. In 96-degree weather, I discovered the NiMH batts get incredibly hot when I do my changeout after the ceremony. They performed beautifully, though, with frequent bursts at close range and a keeper image each time. A second set of NiMH's carries me through the reception with no problems. The MB-D10 battery power never really dipped with no power load on the body but basic shooting functions - the vertical release was a welcome addition.

I'll adjust final exposure, contrast and saturation in Lightroom where the fabulous Synch feature allows for rapid processing of these adjustments to every image group, as well as creative effects along the way for some variety.

All in all, a much more comfortable experience than ever. The setting left a lot to be desired - open yard with little or no gardens and trees. Background mountain scenery was awesome but not terribly useable where we were shooting. Still, a technically successful shoot and one that left me looking forward to the next one with greater confidence and appreciation for all things Nikon.

Auto ISO: Pro's Secret or Fool's Errand?

2008-07-15T07:53:00.005-04:00

Regarded by some as an amateur contrivance, Auto ISO is truly one of the most powerful tools available on your DSLR. Combined with our knowledge of handling noise successfully, having automated ISO as part of your shooting strategy is a mark of maturity among knowledgeable shooters. How so?

Situation You're covering an outdoor event on a sunny day (or a high contrast stage lighting environment) where lighting is different everywhere you turn. The dynamic range of the scenes is often far beyond our sensors ability to record easily. We need need intuitive camera control!

Problem We've got our favorite mode in place - A, S , P or even Manual. Spot metering is isolating our subject for accurate exposures. AF is in Continuous Mode with Tracking Lock-on activated. iTTL flash is at the ready to add fill and, eventually, become our main light source. Seems like we're in control, but as the lighting changes and the day draws on bringing afternoon shadows... keeping an accurate exposure is a dizzying accomplishment. Then, as light fades, the flash ceases to expose adequately, so we raise the ISO manually. Later, we resort to exposure compensation dialing. Then flash compensation dialing. Shutter speeds slow and apertures widen - creating mental fatigue which is robbing us of enthusiasm and creativity. What to do?

Solution Enter Auto ISO - champion of automated camera control! With one swift switch, we have continuously automated adjustment of all the aforementioned areas. Set to run from a 1/8th shutter speed and up to the top ISO available, our camera will now follow our lead obediently. Watch it work...

Set up in Program, A, or S mode, as light increases Auto ISO lowers sensor speeds, shutter speeds increase and flash output fills automatically. As light dims, Program mode will to respect our need to use handheld settings, while A and S modes adjust their respective variables to suit the situation. In the background, ISO moves up or down to maintain these desired camera operations.

In A or S mode, we can hold onto our desired f-stop or shutter speed as ISO moves around for us - but this is a bit less flexible in realtime use as you push ISO's up more quickly at f8 or a 1/250th shutter speed. Good lenses shoot well more side open and VR optics give us easy handheld capability in the 1/25th range - this will really extend Auto ISO's contribution.

Ingeniously, as light diminishes, Auto ISO coordinates usable settings with Nikon's superb iTTL flash adding more output to illuminate the scene as needed - going from fill to main when the need arises. Recycle times will be affected more by our default f-stop or shutter speed, so haggle out a workable combination of shooting at f4.5 or 1/25th and Auto ISO will take up the slack nicely.

For the most part the camera is now self-running - very cool. The other side of Auto ISO is proficient postprocessing. Top end DSLR's (D2x, D200, D300, D3) will handle noise fairly almost to their ISO limits. Midrange DSLR shooters (D40, D40x, D50, D70, D60, D80) will need to avoids excessively high ISO's to keep images from breaking up on the computer - set your ISO limit to around 1600 to be safe.

With Auto ISO, we can extend the range of useful operation in any situation until we either run out of recordable ambient light or available flash power. I prefer to use S mode to maintain handheld shutter speeds during a wedding or even casual snapshooting. you can create your own strategy based on shooting preferences you practiced over the years. Any way you do it, Auto ISO givs you greater control of fast moving, action-packed shooting... use it!

D300 Noise - What's All the Commotion About?

2008-07-14T16:35:00.012-04:00

The D300 sensor is markedly better at high ISO's than the D200, and even the D2x. After reading up on some pictorialized reviews and comparisons, I found one reviewer's suggestion worth considering - turn Hi ISO NR Reduction to Low or Off. Huh? Makes sense actually. All that NR does is smear detail, so it'd be worth it to try to go without before stirring the pot, eh? I decided to give it another chance in my routine shooting technique... how so?

Let's start by repeating once again that underexposure is a major faux pas, and that it introduces noise immediately in underexposed (I prefer to call them unexposed) areas. Routinely overexposing at 1/3 of a stop is the right way to go with plenty of recoverable highlight data available in today's RAW files. Well-lit subjects (sports, birds, etc.) in particular won't suffer from noise like those dimly lit artistic shots taken at twilight. So use of higher ISO's shouldn't be an issue until there isn't enough light - ambient or artificial. (Sports shooters have been going this route for a long time, and with the advent of the D3 are pushing this envelope even further!)

Tests done on the D300 against its competitors reveal a tremendous high ISO performance in properly exposed images with half the noise of Nikon's previous top DX models. Do your own tests to discover this advancement - preferably with flash for maximum color saturation and proper contrast levels.

My initial test results below are RAW images taken with my new 16-85/3.5-5.6 VR Nikkor and the D300's built-in flash for a full histogram of data. The D300 was set with NR Off and images were saved as 800-pixel JPGs at the 100% Quality setting. (These are 350k+ images, so download 'em and take a closer look on your own screen.)

First, an unedited 200 ISO image...

200 ISO

Then, unedited 800/1600 ISO images and their counterparts with 100% Luminance NR applied in Lightroom to fully impact the image for noise reduction.

800 ISO

800 ISO w/ 100% Luminance NR

1600 ISO

1600 ISO w/ 100% Luminance NR

On my monitor, even at 1600 ISO, image quality is simply superb - excellent tonal range and fine detail is very well maintained. For any use other than stock photo submissions or extreme enlargement, you will get excellent results from 8X10 size prints to litho reproduction in brochures and magazines at the 800 and 1600 ISO settings.

Well, there you have it - no need to make a lot of noise over the D300. It is the 'quietest' DX camera available and designed to handle high ISO's very smoothly. Next, we'll be exploring the advantages of the Auto ISO feature for the most flexible shooting technique ever developed by Nikon. Stay tuned...

When Does 3/4" Equal Two Feet?

2008-07-05T22:50:00.004-04:00

When you drop a DL650 V-Strom's suspension 3/4" and finally get both feet on the ground - that's when. I've tipped my Wee over several times and was getting pretty tired of the embarrassment and tipsy slow speed handling. For this modification, we need what are called lowering links...

Lowering links (aka dogbones) change up the geometry of the rear wheel via the pivoting shock mount arm that connects the rear monoshock to the frame. I know, it doesn't make sense to read this so just take a look under your bike and you'll see what's involved. The monoshock is attached to a alloy casting that articulates the monoshock while pivoting on the frame itself. Two flat metal 'dogbones' determine the overall height of the ride based on their overall length. Lengthening the links shortens the frame height, which lowers the bike. It's really just that simple. More than a 3/4" lowering will significantly change this bike's handling and road clearances, so make sure you need more drop before you start messin' around with this important aspect on your V-Strom. This is strictly an at-your-own-risk modification for mechanically-inclined bike owners, so if something isn't clear to you - don't do it!

Didn't know if the cheaper aluminum lowering links that sell for $17 on eBay would be stout enough to replace the steel OEM parts, so I went for a Kevin Baker's nicely finished steel lowering links ($44 shipped) and won't have to worry about it. Murph's mailed 'em out ASAP and they were waiting for me when I returned from a 10-day work week in Missouri.

Rear Suspension Links
Installation is pretty simple - remove two nut (17mm) and bolt (14mm) assemblies and changeout OEM dogbones with the KB's. You will need to create 5-6" of swingarm lift to get the bottom bolt on the KB dogbone started in the shock arm - I employed a square-edged shovel under the limp rear tire to leverage the swingarm up. Wasn't the swiftest approach but in a one-man situation it did the trick. A block and 2X4 would be the simplest way to do it but you'll figure something out when you get to that point. Regreasing the shock arm bearings and putting some blue removable LockTight on the link mounting nuts are two more smart details in this part changeout. Other than that it's a cakewalk...

Front Fork
To complement the geometry change in the rear suspension, a drop of the tripletree in the front forks is needed. This is even easier - just loosen the three 10mm bolts on each side and retighten finger tight. Take a rubber hammer and firmly strike the middle portion of the handlebars to slowly move the top tripletree downward. Establish a visual starting point of the shock tubes and stop when you get to within 5/8"-3/4" of the shock tube showing above the tripletree. DO NOT exceed 3/4" or you risk slamming the top of the shock tube into the lower tripletree!! Take your time, hammer and measure frequently, and it'll go very smoothly. Tighten all the 10mm bolts up as tight as you can get them by hand.

So, what's it like to ride 3/4" lower on a Wee? Awesome! At 5'10" with a 32" inseam, I can easily prop this beast up at a redlight now for safer braking to a standstill and takeoffs in traffic. With the CG (center of gravity) closer to the ground, there's no more tipsy balancing act on uneven surfaces. No more nervous slow speed maneuvers and turnarounds. Clearance is more than adequate for the street and the center stand and kickstand continue to operate just fine too - a greater drop than this will necessitate mods that you won't want to have to make.

On the road, the Wee is starting to handle more like a sportbike! Not quite an SV clone, of course, but it's a much more manageable adventure touring setup than what came out of the factory.

Nikkor 16-85/3.5-5.6G AF-S DX ED Review

2008-06-21T14:39:00.011-04:00

16-85/3.5-5.6G ED AF-S DX Nikkor

Nikon's newest prosumer zoom - the 5.3X Nikkor 16-85/3.5-5.6G ED AF-S DX VR - is an appealing wide angle to short tele design that will fit many shooters needs. A more useful range at each end has been added to overcome the limits of the 18-70 and 24-120 DX models. Unsatisfactory performance has plagued both the 18-135 and 18-200 kit lens offerings from Nikon with numerous comments from users that are moving to pro glass as a result. Will the 16-85 keep the average Nikon afficianado happy or not? Preliminary reviews show a decent performance for daylight shooters - will semipros and serious amateurs feel the same way? Time will tell...

Overall, I get a positive impression from the construct of the 16-85. Apparently built out of the same plastics as the 18-70 and 24-120, it exudes a quality feel with smooth turning rings and clean finish. The zoom ring has an obvious friction (my preference) with no sag or slop in the telescoping lens components. The focus ring is smooth and well damped. A thin, vertically oriented rubber gasket encircles the lens mount gap when mounted on camera. More of a 'flap' than the type of gasket you would find on your car's oil filter, it keeps dust out of the mirror box but is itself exposed and deserves a little care to avoid damage.

The peculiarities of the new Nikkor are not significant but worth knowing:
- The AF-ON switch will not activate the VR - partially depressing the shutter release is needed for focusing.
- Turn the camera off before detaching or attaching any VRII lens
- VR will not be available on cameras with built-in flash while it is recharging.
- Do not operate in the presence of flammable gases or with wet hands.

How does the 16-85 feel? On my D300 body, the 17-ounce optic falls right in place with the zoom ring at a comfortable distance that does not require moving your palm away from the edge of the camera body for handholding (I seldom use the manual focus ring but its right there close to the body and out of the way for steady AF use). It's the same width as the 18-70 and a tad shorter than the 24-120. It takes on an almost weightlessness when added to my D300 with the MB-D10 grip attached.

AF-S
Test images taken in my office confirmed that the 16-85's AF-S snapped into focus consistently even in low room light with indistinct subjects - even at the wide open f5.6 aperture at the 85mm focal length. Accuracy is also excellent with no errors on the camera's part in my test images. This unit should keep up just fine in general action situations - high speed sports or other scenarios will likely need to be well lit for optimum performance.

VRII
This feature is very subjective since time is needed to establish image stability in each shot and then decide when to release the shutter. My initial experience with the 24-120 VR is improved noticeably with this optic and I expect to get better as I use VR more often - but it is a voodoo hat trick in my book and everyone will have a different take on it. I like it and am becoming more dependent on VR to get a sharp image.

VR draws its current from the body power source, so carry spare batts in steady use - neither me or Nikon have any idea how long the camera can support using VR at the track or during events you'd employ it for. You gain an almost unlimited power supply when adding the MB-D10 grip to your D300, which includes longer shoot time using the popup flash as well.

Image Quality
Initial images gave me this impression- we've got another winner!

16mm

CA is minimal by f4 - still present at f8
Image edges are very good by f4
Overall image is very good at f4 & gets better at f5.6
Obvious field curvature
Detail at infinity very good at f3.5

35mm

No CA 'wide open' at f4.5
Image edges are very good at f4.5

50mm

No CA 'wide open' at f5
Very ittle degradation at f22

70mm

Some CA wide open at f5.6
Image edges are very good at f5.6

85mm

No CA wide open at f5.6
Image edges are fairly good at f5.6

Conclusion
Taken as a whole, the 16-86 VR is a very well controlled lens, including above average wide open performance at all focal lengths - with truly good images just above 16mm especially. One stop down from wide open is all it took to bring images into a very good rating and just another stop to give great overall performance (according to 1:1 previews in Lightroom). Typical optical compromises in the 16-85 have allowed some visible CA and obvious distortion - still, Nikon is making real progress in this price category, which drew one reviewer to think that a 17-55 pro glass buy might be wasted money.

While the $600 street price point might be a stretch for some, the 16-85 is money well spent in spite of its slow lens speed if you factor in the wide to short tele focal range and VRII features. My lovable 18-70 has now been transferred to the D40 body and the 16-85 is the new 'normal' zoom on my D300.

MPG & Cost of Ownership

2008-05-26T22:08:00.011-04:00

I've noticed a few folks already slowing up their average speed on the road. Will it really save them some fuel? Yes, a little. But not enough to save the amount they're going to need to fuel that vehicle in the future. It's time to reconsider the vehicle you're driving and get one that best suits your actual needs based on cost of ownership.

It's not too complicated to see how much the cost of your next fuel-saving vehicles will impact your gas bill. Fuel mileage is taking centerstage faster and faster nowadays and the money spent on better MPG's will more quickly outpace the time it takes to offset a car's price tag.

Using a 15,000 average miles driven per year and a soon-to-be $4 per gallon gas price, see how quickly fuel costs outpace the price differences of your car.

24 MPG Vehicles
625 gallons per year X $4 per gallon = $2500
Monthly Fuel Cost: $208

35 MPG Vehicles
428.5 gallons per year X $4 per gallon = $1714
Monthly Fuel Cost: $142

At a more common 20,000 annual mileage average, the differences add up even faster:

24 MPG Vehicles
833 gallons per year X $4 per gallon = $3332
Monthly Fuel Cost: $277

35 MPG Vehicles
571 gallons per year X $4 per gallon = $2285
Monthly Fuel Cost: $190

Cost of ownership affects more than the monthly household budget. Cost is affected by length of ownership and operating costs accrued over that ownership period. The greatest economy can only be achieved when the cost of ownership is spread out over longest period of time. Trade-in and resale values will soon hold fewer advantages than in previous years when operation costs (purchase price, taxes, title and registration fees, financing interest, fuel, insurance, maintenance) were cheaper and permitted frequent changes in vehicle ownership.

Calculating total cost of ownership for your vehicle is sobering when fully considered. For example, a $15,000 vehicle comes with many costs. For example:

Purchase Price: $15000 + fees
Taxes: $1000+ per year
Insurance: $800-$1000 per year
Financing Interest: $400-$600 per year
Fuel: $1700 - $3300 per year ($2500 average @ $4 per gallon)
Maintenance: $250-$500 per year

Typical Cost of Ownership $600-$700 per month or $22 per day

The moral of this story is simple:
Drive as cheaply as possible - gas is just going to get more expensive.
Don't drive unless you have a reason - get organized to control this lifestyle cost.
Watch every contributing expense that affects cost of vehicle ownership - from checking insurance rates to keeping your tires properly inflated.
Slow down a bit and fill up less often.

The Honda Era Ends... Hello, Suzuki!

2008-05-13T14:38:00.002-04:00

A personal era ended recently with the sale of my 1989 Honda NX250 dual sport to a fellow in Greeneville, TN this morning. As I waved goodbye to my old ride I mentally reviewed its colorful past- bought use and ridden for 5 years, stolen for 3 years, then recovered and restored to mechanical soundness this past fall. A shining example of Honda reliability throughout its-not-over-yet lifetime, the NX stands as a testimony to what all bikes should.

That little 2500cc water-cooled, six-speed conveyance defined what I still look for in quality two-wheeled transportation. Reliability first - performance and fun factor second. Every feature of that bike is still working except the problematic speedo assembly (I balked at a $100+ parts list to make another attempt to keep it working). And that's it. The tranny is shifting a little harder and the throttle is less snappy in its response, but the bike is more than drivable and relatively safe with its ancient disc brake and rear drums. Getting 85 mpg is a nice feeling, too.

Having owned 3 Hondas all told - a 1966 305 Super Hawk, a 1975 CB350, and the 1989 NX250 - my overall experience was very positive. Few if any breakdowns. No maintenance problems. And a couple of tumbles due to my foolhardy driving. For me, motorcycles are Hondas. Until now...

With a much lauded 2007 Suzuki DL 650A V-Strom, I have entered the midsize bike realm. For me, it is a whole new era of comfort and performance with a bike that can take me anywhere. Power and handling are first rate. ABS braking technology is a must-have now in my mind. And careful accessorizing has now turned my V-Strom into a capable adventure tourer. But reliability is still an issue. With just 6500 miles on it, the speedo is malfunctioning and an intermittent stall occurs when I come to stop. Some things never change... (we'll also see what kind of dealership experience is in store for this era too).

Will the Wee stand the test of time that the NX has managed to endure? Only time will tell in this new era of modern motorcycling - and I can only hope so....

DL650A Driving Report: April 2008

2008-03-31T05:08:00.016-04:00

After several weeks of regular riding, I am getting a better feel for this great bike and, generally speaking, it is a very good feeling indeed. Here is my experience with the Wee thusfar:

As an adventure tourer/street/commuter all-purpose design, my 2007 Suzuki DL650A (ABS) V-Strom is a superb example of power and comfort for less than $7200 MSRP (due to hogh demand this figure could be potentially more in 2008 at some dealerships). It's also a class act in providing a versatile cycling experience encompassing both economy and performance. Capable of attaining mid-50 mpg fuel consumption, its 5.8 gallon tank can carry the conservative rider upwards of 250 mile on a single filling. At $3.40 per gallon (for now), a $19.72 87-octane fuel investment translates into an 8 cents per mile operating cost. (I used to get that scale of economy with my car - no more!)

Ride position/comfort and overall handling is above average for a bike of this price range and its popularity in the touring circles confirms its rightful place among much more costly models. A few more thousand dollars will transform the basic configuration into a worthy touring machine. Keeping it stock is all you will need for street/weekend and commuting purposes. Make what you want out it - the Wee will deliver!

Engine performance from the 650cc v-twin is steady and strong - its proven SV650-derivative powerplant has been tweaked and upgraded from the original design specifically for this model. Dependable and easily maintainable, you mostly get on it and ride. The six-speed gearbox is easy to use with many situations needing just a single downshift to add power or engine braking for turns and speed zones. My 2007 model is surprisingly buzzfree at any speed and grunts nicely during acceleration to let you know it doing its job. Low speed rolloffs in high gear are very doable around 3 grand, but I'll drop it down a cog or two to get the good stuff when I'm not lazy. The suspension is more than adequate for a non-aggressive driver like myself and easily upgraded if need be. I've found it to be fine for my 190 pounds plus gear. Skilled riding techniques will reap much of what this bike can do from the factory without pouring a lot more money into it.

In the handlebars department, the 'up and back' barbacks that came with mine helped my reach a lot - rotating them a tad brought my hand/wrist positioning into proper alignment and alleviated all of the initial discomfort. A pair of $9 Grip Puppies will further improve the grip experience and a set of $28 Symtec heated grips has extended the riding season as well. Handling is as good as you are - get to know this machine and you'll be happy with its response from milque toast puttering to pushing it in the curves. With it's lower torque and wide power band, Suzuki has done a remarkable job of transforming its sportbike SV cousin into a long distance newcomer.

The cable operated clutch on the DL650 is smooth and positive - especially after I disassembled, cleaned, relubricated and adjusted the clutch release mechanism. This procedure is covered in the manual as a worthwhile maintenance step to repeat for each riding season. Shifting is very solid and smooth - I haven't had any 'false neutrals' or anything else for that matter. After a few hours of operation, this is one area where you begin to sense the level of quality that's built into the V-Strom.

Adding a $128 Kevin Baker Fork Brace was also a smart move. Fork stability is clearly improved with this accessory in long sweeper turns, rough pavement and windy conditions.

What can I say about the ABS braking that hasn't already been expounded on thoroughly? ABS adds a whole new level of safety and is easily the most valuable feature on my Wee - immediate maximum brake power at any time with no dangerous side effects is worth the paltry extra $500 they ask for, in my opinion. Thanks to BMW's relentless brake development, tests have shown ABS to be consistently safer and more effective than any degree of manual braking techniques. Required as standard equipment on all Canadian units, the U.S. is being starved for ABS models with no expectations of seeing any in showrooms all year! As a result, finding a DL650A in the U.S. during 2008 has been difficult to impossible - while non-ABS models are commanding their highest prices to date. (So glad I snatched up my 2007 ABS Wee late last year - whodaknown?!)

I repositioned the rear brake pedal as far down as I could to cover the pedal more effectively in traffic. Also replaced the anemic factory rear brake pads with EBC's sintered HH-rated pads. I can now start to learn how to trail brake the rear wheel during turns like the big boys...

Also adjusted the gear shifter downwards quite a bit to get at it more easily and keep my left foot at the ready to downshift. Replacing the front stock sprocket with a 16-tooth OEM GXSR 600 front chain sprocket removed 300 rpms for a longer first/second shift pattern at takeoff and lower the engine speed on the highway.

Raising and angling the Windstrom windscreen from its stock position has smoothed out the airstream a good bit - more would be better. This process might take a while to maximize but is an important step in improving the riding environment.

As reported by the original owner, in just 6,000 miles he replaced the original rear Trail Wing tire with an Avon Distanzia after repeated trips on the Blue Ridge Parkway. Since I've owned the bike, the front TW was showing its age a bit prematurely with remaining tread producing a 'lumpy' feel as if I was feeling the tire casing. For the 2008 season, I replaced it with a V-rated Metzeler Tourance and have a super front end again. Tire pressures set to 41psi rear and 36psi front have rendered wander-free straight running, excellent tracking through road snakes, over railroad tracks, etc. I'm finally getting to see the Wee great handling for the first time!

While my Wee came with a pair of Givi side hard cases, I added a Bestem 52-liter hard case on top. There doesn't seems to be any issues with them regarding aerodynamics or fuel mileage. I'm getting a consistent 53-54 mpg performance as a 190-lbs. rider in local rides with top speeds of 70-80 mph.

Now, to be honest, this bike IS top heavy. I have already tipped it over once trying to make a slow speed turnaround in a driveway - my fault of course for not having practiced that maneuver beforehand. However, it is very different from my much smaller dual sport Honda NX250 and, as a more 'full figured' motorcycle, requires a different mindset. Nonetheless, I love the Wee's overall ride/handling qualities am have become much more confident of its abilities the more I ride (duh!). It's size and weight is simply perfect for everything from highway and state roads to twisty secondary roads.

Reading a copy of Lee Park's performance riding book has been an excellent education in motorcycle dynamics and as I implement those principles I am certain my ability and confidence will better match the Wee's abilities. After a recent 4-hour roundtrip run from Knoxville to Rugby, TN through everything from typical intown traffic to state route twisties, the Wee is the kind of bike you don't want to park.

Images Set in Concrete

2008-03-25T22:14:00.015-04:00

We're visiting yet another plant this week - a cement plant in Florida. The following images were shot to offer a scope of the size of this plant and its panoramic landscape - varying at a distance of 10-30 miles away, we could see the entire skyline from Ft. Lauderdale all the way to Miami and South Beach! Enjoy...

First, the freight elevator takes us up to around 350 feet...

The various plant systems lay before us - don't know what is what, really.

This is one of several ponds - that was an easy call, I know.

Their concrete fabrication inventory is enormous and provides the components needed for tilt-up concrete buildings and other structures.

Meanwhile, train cars snake around the complex delivering raw process materials.

On our floor, huge steel process structures surround us doing the job of making cement.

At over 300 feet elevation, these huge process ducts dwarf the superstructure holding them up.

Our emissions testing equipment draws flue samples out of the stack for characterization analysis. Flow velocity, CO, dioxins and particulate are several of the parameters being measured at this site.

I'd love to tell you what this is for... I just can't.

Massive piping meets up with even more massive vessels as the cement process goes on and on.

Appearing like a giant waffle iron, these forms add rigidity to the structural steel they are welded to.

Power to the People!

2008-03-17T23:16:00.012-04:00

We shift gears again and return to some photography taken while stack testing at a power plant. This plant is undertaking massive construction of pollution control modifications to minimize its harmful emissions, these images will give a scope of the structures and environment.

Enjoy...

These four fiberglass composite stacks each measure 20 feet across and are contained in a single concrete 'stack'. They receive flue gases from the four main boilers that provide the power to generate electricity.

Looking up the interior of the larger exterior stack wall.

Here is our only transportation. We squeezed personnel and equipment into it to take us 420 feet above! (I made at least 30 trips on it during our three days of testing.)

The coal yard and cooling ponds alongside the muddy Ohio River.

Coal barges are constantly navigated to the site for offloading 24 hours a day.

Fellow stack testers set up their monitoring equipment.

2008 Riding Season - Are You Ready?

2008-03-09T22:19:00.006-04:00

Well, I'm ready. Really ready, that is. My first ride of the season to Norris Lake a few weeks back and another one today tell me the V-Strom is ready for the 2008 Riding Season.

First rides of the season are a big deal only because they're the start of more rides. Six to seven months of rides to be exact. Long one. Short ones. Every one of 'em. And getting ready for those rides is a big deal. Cuz this means work. Fixing, adjusting, adding, changing, finding, buying, and eventually finishing everything you set out to do so you're really actually ready to ride this spring. This process usually requires working in a cold, poorly lit garage, repeated unplanned spending of parts and supplies, and huge sacrifices in quality TV viewing. Why? To make the 2008 Riding Season better than last year's. There's also the hours spent on internet research. More hours spent keeping up with your bike's forum members for all those details and insight you can't get anywhere else. Then, choosing the right items that will make your ride truly deluxe. There's never enough time or money. We must prevail. Spring is coming!

I bought my 2007 DL650A in December and had put only a few hundred miles on it until mid-February. In the meantime, I had my 2007 Winter To-Do List. Did I get it all done? You bet I did! Everything on the list is crossed out. What did it take?

- Repositioning the rear brake pedal for better leverage and quickly activating the tail light made all the difference in rear brake operation. Replaced the stock rear brake pads with a new set of EBC HH-rated sintered pads. I am now able to easily operate the rear brakes to the point of activating the ABS for maximum performance. This fixes the flaccid factory braking syndrome many DL650 riders are experiencing.

- Adjusting the shift lever all the way down for a more ergonometric grab with my right foot was big help.

- Careful handlebar and clutch/brake lever repositionings worked for me and took the pain out of my forearms. If I concentrate on my posture now, riding is really quite comfortable.

- An Eastern Beaver fuse box/relay harness is wired up and powering accessories with plenty of room for future add-ons.

- Symtec heated grips have been installed and are an absolute must-do! Not having to wear thick winter gloves is a big step in maintaining safe control in cold weather. The best $36 accessory I have added thus far.

- A Kuryakyn LED battery meter is keeping real-time tabs on the DL's power usage.

- The Bestem top box tail light and LED side markers will add some visibility, but I really want to convert the turn signal-only assemblies into a true parking/turn signal configuration.

- Two new Richland Rick RAM-mount mirror extenders are mounted and ready to accept future RAM-mounted accessories during 2008.

- A 16-tooth Suzuki OEM Gixxer 600 front sprocket has already proven to be a better gearing partner for the stock rear sprocket over the stock 15-tooth spec. This install included a thorough cleaning, lube repacking and adjustment of the clutch release mechanism - a good seasonal chore for us all.

- A Bestem 46-liter removable top box now holds my HJC CL-31 helmet and other riding gear. My Cortech GX jacket fits in one of the Givi side cases for a complete stow at the curb.

- A black Kevin Baker DL fork brace has stabilized the front end for smoother turns and better tracking in rough pavement conditions.

- 3M Black Reflective Tape has been applied on the frame and hard cases for better night visibility. I added some stylish patches on my helmet too.

- My PVC Koozie Kola Kooler drink carrier will keep me slaked on those longer roads.

- And there's fresh Shell Rotella T 5-30W synthetic oil in the crankcase for a long season of get-on-it-and-go convenience.

Now that's a feel-good post for any rider! If you spent last winter prepping your beastie for Spring of 2008, you know what that means. This year is gonna be the best one ever - we made sure of that!

This is Adventure Touring!

2008-01-23T12:25:00.001-05:00

Any questions?

LED Side Markers Add Visibility

2008-01-23T12:24:00.001-05:00

Although equipped with superb headlighting power, the V-Strom is limited in the lighting department elsewhere. With no parking lights, side lighting is nonexistent and this worries me that I'll be easy pickins' in traffic where unwary motorists won't 'recognize' my V-Strom like other vehicles are normally viewed. To avoid that confusion, I'm installing side marker LED assemblies - two amber units up front and two red units at the rear. They'll be mounted on the bottom surfaces of the fairing 'tupperware' and illuminate the side of the bike while in traffic.

For just $6 per unit at WalMart, these weatherproof, three-LED encapsulated marker lights are perfect - their flat sides allow for industrial strength Velcro fastening out of sight in the daytime but clearly visible at night - classy and practical. A separate switch on my fabbed rear power panel will control these parking light additions.

The Electric Kit and Kaboodle

2008-01-23T12:22:00.001-05:00

The immediate desire to upgrade one's V-Strom is too easy with all the great resources online. To make use of the many electrical accessories, it is wise to install a fuse box with the capacity you'll need for future add-ons. After researching the subject, this is where I went to accomplish my electrical upgrade path.

Jim Davis lives in Japan and builds premium electrical harnesses for motorcycles. He also dispenses the Powerlet line of plugs and connectors, a variety of fuse boxes and all the electrical components you'd ever need to wire your bike to the highest automotive code. His Eastern Beaver (www.easternbeaver.com) cycle website is replete with kits and bits that will turn your ride into a local utility for accessories through fused protection against the elements.

I asked Jim to rig me up a variation of his deluxe 6-fuse box harness to equip an even bigger 8-fuse version with ground cables and all - what he calls the Whole Kit and Kaboodle. And it's just that - a fully fused electrical harness that will accomodate all the add-ons I have planned: LED side lighting, a Battery Tender charger conduit, future GPS and XM connections, Symtec heated grips, a Kuryakyn battery monitor and more. Here's what I got:

Main Harness

Ground Harness

I'll be documenting the installation on this transformation to the V-Strom, along with help from John at V-Strom Riders International (http://11109.rapidforum.com), who's electrical writings offer excellent guidance to any budding bike electrician's dreams.

More as this project develops...

The Perfect Adventure Tourer

2008-01-23T12:20:00.000-05:00

I've only had my 2007 650 V-Strom a month or so now, but after riding and reading all that is published on this Suzuki wundercycle, it's hard to be modest. I mean, when you hear of Beemer F650 and GS riders opting for a brandy new V-Strom and praise it's lighter weight, linear power and torque, low maintenance, high reliability, uh... do you see what I mean? Once you get started it's hard to stop telling the world what you've found.

Tell you what - I'll change the subject a little. Let's talk about me instead, OK? As an aging adventure seeking, young at heart type, the V-Strom fills the bill for my style and need in an adventure touring cycle. It's not heavy (I thought so at first, but I'm acclimated and love the whole feel now), it turns on a dime, it's incredibly smooth fuel injection/throttle technology is state-of-the-art in motorcycles (goodbye carburation!), it possesses a modest suspension for us mature laid back riders, and has a slew of mainstream name brand accessories available for it.

As good as it was debuting in 2004, the 650 V-Strom keeps getting better - and in important ways, not just trim packages and color changes. Check out these changes for 2007:

Optional ABS brakes (right on!)
Wheelbase increased from 60.6 into 61.2 in (more comfy...)
Dual spark plugs for increased combustion efficiency and improved emissions
Graduated Chevron Tank Graphic (that's cooler too)
New rubber boot protectors at swingarm pivot
Hazard switch was moved outboard of the Hi-Lo beam switch as a separate button switch
Larger kill switch and starter button is a larger sprung rocker switch instead of a button
Luggage rack revised from silver to black.
Deletion of idle adjustment screw (requiring special tooling for throttle body synchronization).
Dry weight increases from 418 lb to 427 lb (no biggie here)

Motorcycle Nirvana?
With an abundance of used 650 V-Stroms available online - and many with a list of farkles to sweeten the pot - the V-Strom phenomena is like nothing I've ever experienced. This is the most reasonably priced bike of its kind - and it beats out the competition in almost every way. For example, Kawasaki's Versys is a competent design, but it can't hold a candle to the V-Strom's stock configuration for daily use. A Beemer delivers a higher level of handling performance but costs plenty more with its maintenance-heavy schedule and expensive parts continuum. KTM dual sport bikes are legendary, and you'll pay for it with your wallet and your posterior. Besides, I wanna go to rural America, not Cairo - but I could if I wanted to, huh?

And yet, the V-Strom is no slacker in the get-up-and-go department - I can always hit 70 mph a lot faster than I want to. And that without an embarrassing fuel mileage average either. The Wee is a potential 200-250 miles per tank road bike, thank you very much. Ask your buddies how far their bike will take them on a tank. Finally, add some offroad clearance for fire roads and hauling capacity to the V-Strom for a bike that balances more needs than any other design for the money. And here's the best part - it's rock solid dependable. Even first year models are still purring along at 50,000 miles or more due to Suzuki's world class build quality and user-friendly service intervals. (Hey, I intend to do the 12,ooo mile valve check/adjustment myself...)

So, are you looking for an easy to ride, affordable, power and torque-endowed, on-road/off-road, coooomfortable, dependable and economical motorcycle? I think I found the perfect choice for you. It's called a Suzuki DL650A V-Strom.

Why a DL650A V-Strom?

2008-01-23T12:19:00.001-05:00

After a hiatus from riding on two wheels for a few years (due to a stolen, but recovered, Honda NX250), I finished off 2007 with the purchase of a slightly used (6,234 miles) 2007 Suzuki DL650A V-Strom in classic metallic Oort Gray (the 2008's are painted in Yellow and Flat Black - yuk!).

Almost bought an end-of-year stock model but found this jewel a day before buying. So, on December 8th I found myself in Ft. Payne, AL (three hours from Knoxville, TN) at Pro Source Motorsports and looking at a very well farkled machine. I had made my deal on the phone and although a fellow from Texas was making plans to buy and freight the bike to his house, my check was written first and I trucked it home in my son's pickup.

What a deal! Besides being ridden only 5 months, this bike was loaded! First, it is the ABS model which is a bit hard to find and even better when you're not really paying for it! I managed to get this bike with all its accessories for $1000 under its original street price. Now, add these premo farkles :

Hepco and Becker Engine Bars

Stebel Air Horn (this thing is loud!)

OEM Suzuki Gel Seat

OEM Suzuki Center Stand

OEM Suzuki Handguards & Mirror Extenders

Fenda Extenda

Barbacks

Givi E36 Monokey Hard Side Cases

Avon Distanzia

Windstrom Manta Windshield

And best of all - a 48-month Suzuki Extended Warranty through 2011! I'm still shaking my head in disbelief...

Here in East Tennessee we get many warm days and I'll be on the V-Strom every chance I get. My few hours on the 'zuk have already convinced me this bike is going to be perfect for commuting and long/short range trips any time I get a chance.

In the meantime, during these colder winter months, I've been modding this adventure tourer as follows:

OEM Swingarm Spools (for dealer repairs, etc.)

Dan Vesel Switchplate and Kuryakyn Battery Monitor

46-liter Bestem Hard Top Case

3M Black Reflective Tape

Koozi Koka Kola Kooler (PVC pipe & test plug...)

LED Side marker Lighting (from WalMart)

Symtec Heated Grips

8-Fuse Wiring Harness (from Eastern Beaver)

Rear Power Panel (Battery Tender and auxiliary power)

Grip Puppies

In another couple months, I'll be ready to write some trip reports from our area - so stay tuned!

DL650A Rear Brake Pad Upgrade: EBC FA174HH

2008-01-23T11:17:00.001-05:00

Among the compromises in performance the DL650 series suffers from is its squeamish rear brake performance. Stock organic brakes are designed to remain cool and functional but compromise the potential braking capability in the process and just don't provide enough 'bite' to make the rear brake as useful as it needs to be in traffic and trail braking on the road. What to do?

Higher performance HH-rated brake pads are a sintered type with embedded metallic components that really grab your rotor well. EBC's HH-rated sintered brake pads are among the best available brands for increasing efficiency in your DL650 V-Strom's rear brakes. The newest version comes with stainless steel liners to segregate heat at the pad base from migrating into the caliper assembly - cool, literally and otherwise.

But it's important to get the 'right one' as the base plates on all brands are not alike. Apparently, the DP versions have a different tabbing and move a bit in their slots - not recommended. I spent some time locating data on the subject and this is what I found:

These are an older version - we don't want them...

... this is what we're looking for! Two pads with a cooling groove and look at that stainless liner!

In addition to the spiffy liners, look carefully at the profile of the pad for proper fit with correct tabbing and use with stock retainers. Damaging parts at installation is not a confidence builder when it comes to your brakes, huh? And although one vendor published a warning of not mixing sintered with non-sintered front and rear brake pad sets, my ABS-equipped V-Strom will obviously not suffer from this issue.

Here in the States, the EBC FA174HH rear pads are the obvious choice for fit and performance. I purchased my EBC 174HH Rear Brake Pads from Motorcycle Accessory Warehouse on January 22, 2008 for $35.50 shipped.

Sunstar 16T: Add a Tooth for a Bigger Grin

2008-01-23T11:03:00.000-05:00

The DL650A's stock 15T front sprocket keeps you a little busier than I would like in slow speed driving (up to 50 mph) - especially the short shift from first to second gear at traffic lights, etc. I'm installing a 16T Sunstar to increase gearing by 6.5% and get more use out of the lower gears in local driving. (With its already generous low-end gearing, the higher sprocket ratio shouldn't affect sub-20 mph navigation either.) This change-up will also slow the engine down at highway speeds (65-80 mph) by about 300 rpm for less overall bike buzz and a bit more fuel mileage as well.

For all aspects of riding from street to highway, you would almost think the bike should have had the 16T from the factory and let those who want to gear it down do so for more low speed performance on strictly local commutes. Some folks have gone up to a 17T sprocket for extended highway travel, and that makes sense too, but a 16T is considered the best choice for mixed travel.

I purchased my Sunstar 16T on January 22, 2008 at Dennis Kirk for $25.94 shipped.

European GT and Touring V-Stroms

2008-01-22T07:51:00.000-05:00

Guess what? Along with the X semi-offroad model, Suzuki offers a GT and Touring model of the V-Strom in the UK. Here's a quote from a V-Strom forum in Europe...

"Its a Uk edition (GT), that gets 2x35litre hard case panniers, 1 48litre hard top case, heated grips (love those heated grips!) and a centre stand."

Here's a lineup of 'em all:
http://www.suzuki-gb.co.uk/bikes/onroad/

Hey, Suzuki, what about US (United States, that is)?!

ABS Brakes - How Good Are They?

2008-01-20T10:29:00.000-05:00

This is an extract from an ABS test published by MOTORRAD edition 19/2006.

Tested motorcycles:
BMW R 1200 R (with the new Continental-Tewes ABS)
BMW K 1200 S (FTE ABS)
KTM990 ABS (Bosch-Brembo ABS)
BMW F 800 S (Bosch ABS)
Honda CBF 1000 (Nissin-Honda ABS)
Honda Varadero 1000 (Nissin-Honda ABS)
Ducati ST3 a (Bosch-Brembo ABS)
Triumph Sprint ST (Nissin ABS)
Suzuki V- Strom 650 (Nissin ABS, similar to a Bosch system)
Kawasaki ZZR 1400 (Nissin ABS, similar to a Bosch system)
Yamaha FJR 1300 A (Nissin ABS, similar to an early Bosch system)

Stopping performance is measured from 100 - 0 kph, as an average of three runs.

Dry Stretch - equals a normal road

11,7 meter - these are worlds in between the BMW R 1200 R and the Yamaha FJR. Here we have to say that even the FJR in actual practice still functions safer and realizes shorter braking distances than the average rider.

Bad Stretch - includes bumps, edges and potholes of randomly different dimensions

Again the R 1200 R leading an the FJR trailing. But in between them the test field is changing positions. Here the KTM benefits from its longer suspension travel, which filter peak impacts out before it reaches the ABS sensors. The oposite is demonstrated by the Kawasaki. It develops too much slip at the front wheel. The BMW R ABS regulates well with only minor impact on braking performance. 42.6 m means earlier stand still than others on the smooth stretch.

Wet Stretch - evenly water treated with the help of a sprinkler system

With 9,43 m/s the BMW K 1200 S reaches phenomenal braking power in the wet. A contribution of the long wheel base, which keeps the front stabil. The DL650 demonstrates the importance using the rear brake even with ABS. The brake distance was 10 m longer without the rear brake.

'Friction Jump' - a stretch of alternating wet and dry segments, each 20 cm wide

This is the acid test for the ABS's regulating quality. Brake distance of more than 50 m delivered even by the top performers do speak a clear language. The BMW F 800 S ABS regulates harshly but effective. The Kawasaki ABS is careful and therefore too defensive.

CONCLUSION

Never again without! The is the short version and actually all we needed to say, after our experiences with 11 ABS motorcycles. And here is why: What even a very skilled rider can do only occasionally under best conditions, and sometimes only with a lot of luck, that is what the newer ABS systems can do any time - safe braking in the shortest possible distance! The art is to master the effectiveness of the regulating logic in conjunction with the comfortable and clear operation for the rider. It is BMW who gets both under one roof with their new ABS generation. Honda is second with only average braking results, but these systems are top in terms of regulation sensitivity.

ABS vs. non-ABS Brake Performance Study

2008-01-15T14:57:00.000-05:00

The following 2003 excerpt was published when many bikes were still without an ABS option. The meters per second squared figures they refer to are a measurement of stopping power over distance - more is clearly better. Once you get past the clunky Europeanized English grammar you will learn a good bit about this superior braking technology.

As a 2007 Suzuki DL650A (ABS) owner with touring aspirations aplenty, I appreciate this feature more than any other aspect of my bike. It will make a believer of ABS out of you, so read and appreciate this study - it may save your life someday! It already has done so for others... enjoy.

The Human and ABS
ABSOLUTION

Can ABS systems relieve the motorcyclist when doing braking errors, or even solve eventual braking problems themselves just as well? A comprehensive analysis.
by Waldemar Schwarz
From MOTORRAD 10/2003

The Top test of the Yamaha FJR 1300 with ABS (MOTORRAD 6/2003) drove them onto the barricades. Ultimative late- and megabreakers cemented their prejudices. An active discussion around the allegedly small value of 8,4 m/s² swapped over into the motorcycle on-line forum. Allegedly, because test professionals create values around 10 m/s² under ideal conditions, which approaches the physical limit, depending upon type of motorcycle. Volker Deutschmann assumed a technical mega flop, and , oh misery, he had ordered a FJR 1300 ABS blindly without test drive. His only hope: It may perhaps not at the ABS's fault, but at the tires, which were supposed to be suitable for low outside temperatures only. Or the full moon might have been the culprit. Bernd J. comments: "I cannot imagine that Yamaha designed really such a muck ... the values with ABS are accurately those, which every normal motorcyclist can achieve at any time."

Latter statement gets rightfully relative through other contributions: "With all justified criticism, the actual braking distance is still shorter, than what a normal driver without ABS gets out. Or he is landing on his beart, owing to an overbreaked front wheel. Interesting it would be, as how the breaking results with and without ABS not only for the professional breaker is. Would it be different also for the average rider?" Just the question, which MOTORRAD now finally is out to clarify - not at least in order to eliminate questionable "wisdom" once for all.

"Motorcyclist of the Year", a sumptuous fundus top driver list
Important preliminary work had already been carried out by the MOTORRAD ACTION TEAM in connection with the search for the "Motorcyclist of the Year 2002". During the prequalification rounds of the braking competition several hundred participants had to pro stop from an initial speed of 70 km/h within shortest distance possible. A measuring instrument noted accurately the process of the delay, as well as the force. From this sumptuous fundus the MOTORRAD team could get a comprehensive picture.

Exemplary the results of two mixed groups were analyzed, which are good for a nice surprise: The average braking results of 19 drivers from the first group amounts to 6.2 m/s². To make it clear: This is a value, which is regarded completely tidy looked at by itself. Under the default assumption however that this exercise shall address ambitioned motorradcyclists, who do estimate their driving abilities as rather high, it appears this value is only average. And besides, it is far from the level which was achived by the FJR 1300 with ABS.

Even more remarkable: The engaged sport driver parliamentary group with Yamaha R 1, Honda Fireblade and co. did not turn out by any means as a superior brake species, but braked with 6,1 m/s² on the average even still slightly more badly than the remainder of the motorcycle world. Absolute front runner is R 1150 GS rider Aaron T. He created - owing to ABS system – an average value of 7,9 m/s². Certainly without exhausting however the potencial of the ABS system completely.

The second group with 26 riders braked amazingly better than the first, with an average delay of 6,8 m/s². But with some analysis the difference is cleared up fast: Six BMW boxers and F 650 GS riders with ABS do drive the average of the group up. Measured isolated, they did get results from 7,2 to 8.1 m/s² - clearly over their competitors. Only a lonely Yamaha TDM 900 rider can mix together with them. With 8,1 m/s² he is in the top group of the ABS guys.

If one looks closer into the details of the braking process, the measurements prove clear as glass: Even above the average experienced motorcyclists do not exhaust the potenzial of their brakes appropiately. Because they do serious mistakes. As the normal rider uses in case of emergency far less than 50 per cent of the possibilities of the stoppers (italics ours), experienced twowheelers do likewise lose time and thus valuable meters when stopping. The reason: About the speed the speedometer informs, but with slowing down the pilot must alone rely on his feeling. And this often deceives. Individuals sure achieved during the process of their braking values of up to 10,0 m/s², but their hesitant structure of applying brake pressure destroys a good total delay. Over half of the pilots start to brake with extremely small brake pressure, and increase it continuously up to the end of the braking. An instinktive behavior, which is understandable from fear of malicious overbraking, thus already at the beginning of the braking enormously long distances are given away.

However, an ABS can manage the fast application of brake pressure safely (italics ours). A fact, which is proven by the large extent good results from the riders with ABS system. These result are from the hard grasp into the brake, so already after two to three tenths of seconds they reach about 80 per cent of their maximum delay. But not only at the beginning of the braking process without ABS valuable meters are given away, but also in the further process. Many riders increase the brake pressure continuously, forget however far before tire blocking their own courage and loosen the brake briefly, in order to then start the same braking game again.

With most participants from our search for the "Motorcyclist of the Year" indeed we noticed several overlaying weaknesses. Out of altogether 45 drivers, 25 develop the brake pressure too slowly, 16 of them loosens the brake out of fear for overbraking - completely unnecessarily far before the tires blocking. Real world result: Out of 45 routinier brakers in the whole only eight earn truly this titel, with 3 from them originating from the ABS camp. And this is the result, even the drivers had time and opportunity for exercising braking. An opportunity, which we did not give during the next scene of crime.

Rooky meets Routinier: "Good braking with ABS"
Five motorcyclists (box starting from page 65) with completely different ambitions and backgrounds first show on the highway, what the level of braking skills in real motorcycle life is like. All skills are represented: The rookie Mirjam Mueller, the normal drivers Daniel Alves de Jesus and Manuel Fuchs, as well the experienced sportracer Oliver Noske, and last but not least the seasoned routinier and milemuncher Volker Deutschmann - exactly the one, who had kicked off the discussion about the ABS of the Yamaha FJR 1300 A in the motorcycle on-line forum.

The first exercise: Each rider rides a round course of 35 kilometers in the Swabian-Frankish forest, which consists a mix of badly visible bends, fast straights, and from far visible in mountain and valley bedded changing twisties. Everything, what usually the motorcyclist heart desires. Each pilot must complete the course without route knowledge or other leading motorcycles, exactly as during a tour in the real life. Available was a choice of ABS motorcycles of completely different shades of character, choice depending upon personal gusto. The choice was in between the BMW F 650 GS, the sporttourers Honda VFR 800, and Ducati ST 4S, up to the powertourer Yamaha FJR 1300 A. Rookie Mirjam preferred the BMWS F 650, Daniel and Manuel grabs the VFR, Ducati-998 owner Oliver naturally the Ducati ST 4S, and FJR owner Volker, how could it be different, the Yamaha. The machines are equipped with DATA Recording, which notes the speed process and the delays accurately.

The result: The average braking results of all participants are in between 2 to 3 m/s². Whereby it should be reminded, that we are not talking here about full stops until standstill. With the peak values the test field was pretty close centered around 4,2 to 4.4 m/s². As a proven top braker Volker was outed. His values were tendentious more high. Once he even peaked with 6,4 m/s². Asked for the reason, he immediately replies with the explanation: "I wanted to try out whether the ABS comes into action." He would have to activate the stoppers however far more violently.

This chance is offered a short time later to the candidates. From the Swabian-Frankish forest our way leads straight onto the racecourse Hockenheim. On closed terrain each driver can not only get a sense of his own capabilities, but also of the ABS, and safely explore the borders of physics. The tasks: To complete a full stop at everyones personal limit from an initial speed of 100 km/h without net and ABS. The drivers do not know whether the ABS is activated or not. Again data recording notes each delay, additionally distance and speed measurements supports the individual results.

And this now is completely different: The bandwith is between 5,5 and 7,0 m/s², and is accurately in the range, which the "Motorcyclist of the Year" group had achived. Again Volker brakes the others out with no mercy. He needs some time in order to develop a high delay, increases then however to the limit of the FJR without ABS: 9,5 m/s². If he would not have lost so many meters at the beginning of the braking process, he would have come to an absolute top result. But still, a respectable 7.9 m/s² in average is a good achivement. Nevertheless, it misses the maximum of the FJR with ABS clearly.

Next: Exercising is what makes the master. Now the five shall push their own limits futher, and learn confidence in the different ABS systems. After numerous brakings Mirjam improves with the BMW into areas of over 8 m/s², and remarks for still higher delays her hand strength is not sufficient. We believe however it rather being a psychological barrier. Daniel uses the real potencial of the VFR ABS. The same applies to Manuel. Oliver with confidence in the electronic aids gets 10 m/s². A range, within which the Ducati slowly begins to lift the rear wheel, but the ABS still does not regulate! Volker overcomes with a trick the ABS limitations of the FJR, with individual braking pulses by proportional building up of brake pressure he creates 9,5 m/s². For the rehabilitation of the others it should be noted, that this routinier tested different ABS systems in the past already. Thus, he knew how to get most out of it. With normal ABS action we got a typical 8.5 m/s² for the Yamaha.

After the experiences with the three other motorcycle models during the test runs all five drivers came to the same result: The ABS of the VFR is among the tested systems unquestionable the first choice. It does not confront a driver with any sort of problems. Even critical Volker Deutschmann agrees, as the other participants, that ABS means an enormous increase of rider safety. The potencial of an ABS system is skyhigh over that of each normal driver. The difference is so high, that even after a lot of practicing they can not make full use of the motorbikes braking potential with no ABS.

Four of the five candidates nevertheless now have learned reaching delays, which they would only dream about at the beginning of the test. The dimensions, the knowledge, of what is really feasible have enormously shifted up. After intensive exercise. But ABS is better - and can still do more. It can care for all the little insecurities of our daily lives, as there are slippery patches from road repair works, suddenly emerging obstacles, or just a suddenly wet road within your brake zone.

Such conditions – as MOTORRAD already had proven with numerous previous tests – can only be safely mastered with the assistance of ABS. Each ABS offers a strong safety plus, which pays in case of emergency the investment of 500 to 1000 Euro completely back, not talking about health matters.

2007 Suzuki DL650 ABS V-Strom

2007-12-28T08:12:00.000-05:00

I'm closing out 2007 with a great story - my motorcycle touring solution for 2008!

In late November, I dropped in at the local Suzuki dealership for no reason at all - just killing time. The salesman showed me his DL650 V-Strom and I was immediately hooked - finally, the perfect (affordable) touring cycle I had always wanted! I've ridden the BMW F650 and wasn't real tickled with its ergos and price tag. All other similar designs had the same dreaded dirtbike seat my NX250 was plagued with. And at a street price of $6699, the Suzuki DL650 V-Strom was a real solution for my touring Jones.

Having decided against buying a 2008 model (yellow or flat black only - yuk!), I began a search of remaining 2007 models in Oort Metallic Gray. I located several brand new ones going for just $5800 at an Alabama dealership six hours away and got the loan ready to purchase one. With check in hand, I made one last look on eBay for other offerings nearby and an awesome deal had just been posted that day - a used 2007 Suzuki DL650 ABS V-Strom with 6,234 miles and a nice list of farkles (accessories in motorcycle lingo). Right on! I called the dealership, made my deal on the phone ($6200), and asked my son if I could borrow his longbed pickup to bring it home. Saturday couldn't come fast enough...

Tommy Polson and I arrived at Pro Source Motorsports in Ft. Payne, AL on December 8th at 8:30 AM - they opened 30 minutes later. After a brief but thorough look and listen, I jumped at this jewel and wrote the check. It seemed too good to be true. Why was it sold off so early, I wondered?

It was purchased in July 2007 by an experienced rider of many bikes. He outfitted it well and discovered later that his wife would not fit well on it with him. Trading it in at his local dealer, he bought something else. I actually spoke to him on the phone when making my inquiry and he revealed a tipover on the Blue Ridge Mountain Parkway that resulted in some scratches to one of the handguards and a replaced front fender. Otherwise this bike is like new.

Original Purchase
2007 DL650 ABS V-Strom $6200 ($7199 street)
Suzuki Extended Warranty (to 2011) $400
Suzuki OEM Gel Seat $189
Suzuki OEM Center Stand $189
Hepco & Becker Engine Guards $189
Windstrom Manta Windscreen $185
Avon Distanzia rear tire $150 mounted

My Add-Ons
Kuryakyn LED Battery Gauge $31
Suzuki OEM Swingarm Spools $19
Symtec Grip Heaters $28
Bestem T-Box Hard Top Case $80
8-Fuse Eastern Beaver Harness & Powerlets $105
Battery Tender $45
Sunstar 16T Front Sprocket $26
EBC FA174 HH Sintered Rear Brake Pads $36
Bestem 992 T-Top Hard Case $80

My Modifications
Rear Power Panel (scrap diamondplate)
PVC Koozie Kooler Tube $30 (my design)
LED Side Marker Lighting $30

The Suzuki V-Stroms are popular adventure tourers in their fifth year of manufacture. They are excellent values compared to BMW and Aprilia offerings, and are well supported online with accessories and a wealth of forum-based information too. Go get you one!

December 29th: First Ride
Took Suzi out for her first roadrun today under partly sunny Tennessee skies and 50 degree afternoon temps. Ran some backroads in Powell and stopped to visit a friend and show off the new ride. The bike offers easy handling for a wide range of traffic and all the power needed to cruise the interstate. Smooth shifting and excellent seating positioning makes me look forward to longer days and destinations further away.

1984 20/2.8 Nikkor AI: First Impressions

2007-11-14T02:31:00.000-05:00

I recently picked up a 20/2.8 Nikkor AI from Adorama for just $255 shipped - an exceptional buy with curiously higher prime lens prices appearing just prior to the Nikon D3 body release. This optic, along with the 35/2 Nikkor AI, is getting pretty scarce. Go try to find either one of 'em - it's pretty hard.

My sample 20/2.8 is a circa-1984 model - the rubber focusing ring slicked over after years of use, and the classic black Japanese laquer still very shiny. Except for a small filter ring ding up front, it's in good shape for a well used lens. The aperture blades look like new, it focuses fine and the mount is clean and unbuggered. An E- grade lens sample to the letter.

With just a smidge of heft due to its complicated glass components, the 20/2.8 adds little weight to my D40 body. The AI construct requires I operate the aperture ring manually - unnecessary with AI-S designs. At 30mm's of actual view, focusing is accomplished with the electronic rangefinder and requires constant chimping to ascertain sharp images. The 62mm filter size is commonplace but I'm fitting dedicated circular polarizers to my primes for greater readiness in the field - they're cheap enough these days to do it.

The 20/2.8 AI rates right up there with the better AI/AI-S designs and offers a pretty view at infinity and up close. I've discovered a tripod is just as necessary with wide angles as a tele when scenics and architecture are the subject. Flash quickens the shooting process but manual focusing begs for attention and deliberation. Hyperfocal calculations are worth working out for shooting in close quarters and taking compulsive image grabs.

All in all, this optic takes me back to yesteryear's methods of shooting - it'll be fun mastering this focal length and seeing how 'wide' I can apply its vision.

PS: I managed to repurchase my 35/2 Nikkor AI from the fellow I sold it to. He never used it, so agreed to let me have it back for what I sold it for - $168 shipped. They start at $200 on eBay and go up from there, folks. And they will only get harder to find...

1973 135/2.8 Nikkor-Q AI'd - A New Standard?

2007-11-09T16:34:00.000-05:00

As the facetious title suggests, I purposely selected this optic among my collection of AI Nikkors to prove a point. It has been my rant for several years now that the current crop of consumer Nikkors is woefully inadequate when it comes to their primary purpose in life - image quality. Oh sure, they focus faster than you can pick your nose - they'll even do it while you pick your nose. But eventually, the misgivings of Nikon's whizbang optical technology are staring you in the face. Poor telephoto performance. Serious CA, distortion and other optical issues. Forced shooting at higher ISO's with smaller maximum apertured lenses. Where's the progress? It's not in the AF-S, VR and nanocoatings, friends. It's all about basic lensmaking and the real images your optical tools are recording on the sensor.

Now, every Nikon DSLR body is a work of art. Even the diminuitive D40 is a stellar performer within its amateur-based capabilities. I bought one as a 'gap' body while waiting for the D300 to materialize, and it is surprising how many things it does well. Especially the image quality - better than several of its predecessors. But those consumer kit lenses will drive you nutty if you ever take a close look at what they are giving you.

So where is the solution? That's simple. Give me $1500 - $2000 and I'll hand over a pro quality Nikkor that will (1) put some meat on your mitts and, (2) reward you with pristine images every time you shoot. This is lensmaking - sharp, sharp, everything is sharp. No excuses and ballyhoo about antialias filters and uberzoom ranges wider than the Equator. Nope - just good glass, man.

Our Test Lens
So. Back to the 135/2.8 Nikkor-Q. What's your point, you say? Just this. As a far-from-heralded classic optical design - in fact, a converted pre-AI lens at that - the following images prove that good lenses have been available for decades. Using my modest little D40, I shot this series of test images wide open at f2.8, midway at f8, and stopped down to f16. The subject was chosen to allow detail and contrast to be easily evaluated - bare concrete is as bland as it gets, but when it shoots well you've done something right.

The subject is about 60 feet away (infinity) and you're looking at the 100% cropped section. No postprocessing has been done inside or outside the camera. Let's look at some pictures:

f2.8 @ infinity

f8 @ infinity

f16 @ infinity

As you can see, this early-1970's Nikkor is superb across the entire range of f-stops. It will outshoot every Nikkor zoom under $1000 - nd do it at a cost of $75-$120 bucks.

Icing on the Cake
Just to add another layer of evidence, here's an image using a Kenko Pro 300 DG 1.4X Teleconverter with the 135/2.8 Nikkor-Q. Factoring in the digital 1.5X conversion, the Nikkor-Q grows from a 202/2.8 into a stronger 283/4 telephoto. If these two unlikely partners can shoot well together, you've just upped the ante for superb photography by a whopping $125! Let's see what the camera shows us...

effectively f16 @ infinity (f8 w/ teleconverter)

Just as important as infinity focus is close range shooting. Can an old Nikkor pass that test too?

Here's another center crop of an image shot at less than three feet...

... and here's the center of that crop. Any questions?

The Nikkors of old had awesome contrast, sharpness and an imaging elegance that today's technology is slowly leaching out of our glass designs. Didjaknow, for example, that internal focusing, aspherical elements and other 'advances' actually increase distortion, CA and other anomolies in modern consumer optics? Combined with sloooow f4 and f5.6 maximum apertures, this explains the poor wide open performance, edge of field softness and slower AF response in today's consumer zooms. Sadly, even modern primes are not the match of their grandparents as plastic and offshore manufacturing take their toll.

Regarding lens speed, there's no such thing as a slow AI. Several of the 1.8 versions shoot very well wide open and represent the best value in AI's - the 1.4 and faster designs offer little more than a brighter viewfinder image with soft images until you're 2 stops down in many cases. What will you have to spend to get that kind of speed in a 'modern' lens? Four figures at least. Before you shell out the big bucks again on a 'better' lens than what you already have, take a look at the manual focus Nikkors for your architectural, scenic and portrait work.

You can still buy Nikkor-Q (and other pre-AI), AI and AI-S lenses as used equipment. In practical terms, any AI will improve your image quality - even the slowest ones. But the introduction of a full frame FX sensor in the D3 is going to exacerbate your opportunities as prices on these optical gems are escalating rapidly. Once the full frame mentality becomes fertile, the run on AI and AI-S Nikkors could be worse than weekend shoppers on the blue light special aisle at Kmart.

Looking for a new standard for your personal expectations in digital photography? It's been here all along...

AI's on the Rise - MF Nikkors are Appreciating Rapidly!

2007-11-08T23:49:00.000-05:00

You may have noticed the upward trend in prices for Nikkor AI and AI-S manual focus optics. There seems to be a reevaluation in the street prices for these stalwarts of Nikon's heritage glass. And the release of Nikon's FX sensor will only intensify the interest in AI/AI-S Nikkors. Hey, it might even drive Nikon to retool and build these lovelies again!

AI/AI-S Price Trends
A 105/2.5 AI-S is averaging $200-$250 on eBay and elsewhere for a pristine lens. That's as much as $100 more than I paid for my excellent sample less than a year ago.

I just bought an E- grade used 20/2.8 AI-S at Adorama for $255 shipped - a fortuitous buy compared to the $350+ samples on eBay and at major retailers. This focal length, along with the 35/2 Nikkor is getting more scarce.

I bagged a clean, late model 24/2.8 AI-S earlier this spring for $169 shipped and that model is also starting at $200 at many retailers.

The 200/4 AI model is uniquely plentiful with average to brand new samples at many retailers and on eBay - but again, the pricing runs upward of $200+ for the better ones.

I'm currently looking for a pristine 50/1.8 AI-S Nikkor as it is more optically useful than the 1.4 model. It shoots better images wide open as well as holding up image quality further down the aperture ring. The 1.4 version only gets good at f4 and poops out at f8 - what good is a 1/2 stop of optical speed if it can only use 3-4 f-stops to get exceptional image quality? Ditto for the even worse f1.2 Nikkor... don't let the label fool you here.

AI Conversions
My 135/2.8 Q Nikkor was properly AI'd and shoots very good images compared to modern lens formulas. Not collectible, but as a quality AI conversion sample, it is well worth owning for the $75 I paid a year ago.

There are plenty of AI'd Nikkors to choose from at very reasonable prices - but do your research! Conversions vary as does the historic quality of pre-AI optics. Some shine and some make pretty paperweights. Bjorn Rorslett has dependable information on AI Nikkors and serial numbers can be tracked to determine year of manufacture, single or multi-coating and other specifications worth knowing. Yet, earlier Nikkors can be superb performers too, as in the case of the pre-AI Nikkor 50/1.8. And AI conversions are not very expensive for a worthy candidate.

AI vs. AF
The simple truth is, you can't buy a Nikkor zoom for under $1000 that will equal the image quality of these veteran optics. A good friend recently submitted unsharpened images taken with his 35/2 AI-S Nikkor and they were rejected by one microstock agency because they were 'too sharp'!

Several Japanese sources have a selection of exquisite samples that they sell at a premium - I enjoy the chase to hunt down top quality values at online retail websites as I keep an eye on eBay for good deals there too. Discriminating photogs who are looking for maximum sensor resolution are using AI's more and more for landscape and other high quality applications where a high-speed AF zoom is just not needed.

Even with rising prices, these lenses are solid values that are being honored in the D200, D2x, D3 and D300 DSLR bodies with full metering capability. Consider adding a critical focal length for your favorite passive shooting enjoyment - you won't believe your camera could shoot that good...

Popup Flash Light Modifier

2007-11-07T18:09:00.000-05:00

This little modifier inverts the popup flash output to the ceiling and spreads the light out. Simple and effective. Find some rigid electronics packaging with enough flat area to create a bounce surface and I'll show you how to make one..

The plastic piece is about 3X5, has a gentle upward curve, is notched at the bottom, and held in place with common masking tape against the flash head's storage area. Scissors and aluminum ducting tape are all you need to make it with. Trim the shape and notch the bottom so it will fit well into the fe flash's storage cavity.

Effective flash to subject distance is limited to the40GN flash but does remarkably well in most close quarters.

Not bad for a piece of scrap plastic packaging material and aluminum duct foil tape... and it slips into my smallish camera bag just fine.

Devibed, Clarified and Saturated

2007-11-02T20:27:00.000-04:00

I was playing around with yet another D40 test image in Adobe Photoshop Lightroom 1.2 and came up with a neat application of color controls for an all black subject - automotive tires. This cropped, straight shot was definitely ho-hum and also tough to 'preset' into something artistic, so I simply looked at making a more rich image in its own right.

I played with the Vibrance , Saturation and Clarity sliders to do this little trick. And here's the skinny on those controls:

Saturation - affects all colors of an image
Vibrance - affects only primary colors which is effective for enhancing colors without affecting skin tones and other nonprimary color mixes - cool idea, Adobe!
Clarity - performs a subtle Unsharp Mask sharpening routine to selective areas of the image

The Straight Shot

Slider Settings: 100 Saturation -100 Vibrance 100 Clarity

No contrast, color temperature or exposure adjustments were made. The oversharpening is apparent, but the color shift does wonders for an otherwise dullish subject.

Lightroom continues to impress me with its seemingly endless control over all aspects of an image. I still feel like I'm scratching the surface...

D40 Hands-On: Nikon's Infant DSLR

2007-11-01T10:29:00.000-04:00

My Baby Nikon had its first outting at a polo match in the fashionable, hurricane-hit community of The Villages in North Florida in late October. Gorgeous weather broke out after a week of drizzle and I was ready with 5 lenses to try out. Standing on an elevated grandstand, it was a cakewalk to shoot from my seat. My Dad and I also went to the playing field level for behind the scenes images too. (images coming...)

Hands On
As a tot among Nikons, the D40 behaved very well but, as expected, is a little infantile in its abilities. Overall, image quality was no issue but mechanically it is clearly a toddler at times. Handling was easy for my smallish hands and button layout is typical Nikon. I covered the unprotected LCD screen (no clear plastic cover is provided for this model!) with a pre-ordered Giottos multicoated glass LCD protector to keep its baby blue preview window clean and unscuffed. A small EN-EL9 batt powers this pup for ~470 images. All in all, a sweet addition to it's more famous siblings.

Operation
AF was typical of most amateur DSLRs - fairly quick but unable to keep an adequate tracking on moving objects. I also utilized my 70-300 AF in a manual manner to see if if I could keep up with the polo horses and 7-minute chukker sessions - not too bad, not too good. AF-S really is a necessity. My 24-120 VR worked properly but, again, the D40's amateur level AF was not stellar.

Automated exposure was baffling - even in bright sun, as the D40 tended to overexpose easily. I discovered that the sensor you focus with also becomes the weighted area the meter concentrates on - even in Matrix AF! I'll assume poor parenting on my part and promise to do better next time...

Interface
Menu manipulation is really spiffy with a double-tap on the "i" button taking you to a toggle-controlled Information menu of basic settings - ISO, Mode, Flash, etc. I use the Function to set ISO like the D40's bigger brothers can. I'm still trying to get the menu o the rear LCD to stay off while i'm composing, but it doesn't appear to be an option. Aggravating as it is no fun getting its glare in your eye at the viewfinder.

I defaulted to using the internal viewfinder for monitoring the D40 with its Nikon-standard exposure and flash compensation routines. In such a familiar interface, I have barely needed to consult the manual on this camera. Its simplicity is its best feature for rapid AF-S lens changes, easy-to-choose shooting modes and long battery life - I shot 470+ images with a mix of flash and plenty of chimping - just as specified.

Samples
My parents offer themselves as typical images we shoot a lot - check these two out as a testimony to the D40's kind rendering. Excellent in-camera sharpness negated the need to add any here beyond a typical tweaking in WB warming.

Conclusion
The D40 is cute and cuddly - a perfect choice for any digital shooter's firstborn camera body. (I mounted the DK-21M viewfinder magnifier from my recently sold D200, so youknow this baby is a real member of the Nikon family.) Don't wait - you can never be too old to beget one of the best little Nikons ever made - the D40!

Honda NX250 Psuedo Motard!

2007-10-18T14:56:00.000-04:00

This isn't a photography article, but if you've read this far on the blog, I hope you won't might a diversion 'round about now...

Three years ago I had a fun little Honda NX250 dual sport motorcycle stolen at my previous residence. Although I reported the VIN number and kept a vigil for my lost ride, time seemed to work against any odds in recovering it. Only a photograph and memories remained...

In October 2007, my former employer's HR director called me and said the police were looking for me - what!? They had recovered the Honda! Several weeks later (after the TN DOT cleared an altered VIN), I picked up the well used 'cycle and brought her home. fortunately, she runs well and apopears to have suffered little mechanical harm - the former 'owner' must have had some appreciation for it.

Since then, I have spent hours cleaning and rebuilding my old friend and thought a simple progression of images might interest those with similar interests (see, it's still about photography,sorta...). My objective this time around is to create a motard - a street-tired version of an offroad bike. A true motard has tires and wheels of the same diameter - I'm sticking to the original rims due to cost.

Replacement parts needed to refurbish the stolen NX included: Kenda Challenger street tires, a rear sprocket, front and rear brake pads, clutch and brake levers, tail light, spark plug, rear brake pedal rod, and other hardware bits needed to make for a safe ride. I've disassembled the bike to refinish the braking surfaces, lube all drivetrain points and cables, flush radiator for new antifreeze, repaint the exhaust pipe and do a bunch o' cleaning of old grease and dirt off the wheels and frame. The plastic fairings got a scraping up too, so some model paint minimized the visual damage.

With a new helmet and Cortech GX jacket, I'll be on the road in late Oct/early Nov. I'll also be mounting an old metal Army ammunition box as a 'pannier' to carry photography gear. It's essentially watertight and should make a rugged container for a camera body and two lenses plus a flash.

Thanks for listening to my sentimental tale - I'll have more adventures to report once I get on the road and look for photographic scenes to display...

11/4: Still not on the road yet - speedo parts are getting hard to acquire, so I may do a simple parts mod and get the front wheel on without one. Arghh!

Motard Mule

Norman P1250D: Watt-Sec to GN Calculations

2007-09-16T15:48:00.000-04:00

I recently had a stroke of good fortune - a retired photographer living in my parents' subdivision in Florida was selling a Norman strobe kit for $500 and through them offered it to me. Thinking this would be a great way to earn of few easy dollars, I did a little auction tracking on eBay to determine if a resale would make any money - not really. I told him so and suggested that he sell it himself - getting $500 should be a cinch. Another week goes by and my Dad calls to ask if I'd take the kit for $300 plus $70 in shipping. Say what!? The rest is history...

I now own an awesome 4-head Norman strobe kit, which includes:
Norman P1250D watt-second power pack
(4) LH2000 2500 w-sec lampheads with 150W halogen modeling lights
(1) 8.5" high output reflector
(1) 5" high output reflector
(1) 5" rotating barndoor ass'y
(2) 16" soft light reflectors
(2) 16" rotating barndoor/diffuser assemblies
(1) R9110 Rapid Cool blower fan
(2) 42" shoot-through white umbrellas
(1) 42" Westcott Halo umbrella softbox
(1) metal Norman snoot
(1) 42" collapsible fabric gobo
(2) heavy duty steel light stands

"So what's a 1250 watt-second power pack gonna make for light?", I ask myself as I clean and set up the new gear. Watt seconds is a "fools errand" as they say on Pirates of the Carribean - it doesn't apply itself readily to flash photography. No iTTL or automation - just lots of metering to create main/fill/key ratios based on personal experience.

Besides, strobe photogs are more interested in the apertures they can shoot at - DOF and bokeh are what really matter - and creating beautiful light, of course. So to make the GN conversions for a flash power reference, I put the following lighting reflectors, diffusers and umbrellas through a "watt-seconds @ 10-foot X ?? aperture" benchmark test to determine the range of GN's produced with the various power setting/modifier configurations.

250 watt-seconds @ 10 feet
8.5" high output reflector: f13 = GN 130
16" soft surface reflector: f13 = GN 130
16" soft surface reflector w/ diffuser: f9 = GN 90
Halo 42" umbrella softbox: 7.1 = GN 71
24" silver umbrella: f5.6 = GN 56
24" 'deep' silver umbrella: f5.6 = GN 56

750 watt-seconds @ 10 feet
8.5" high output reflector: f22 = GN 220
16" soft surface reflector: f20 = GN 200
16"soft surface reflector w/ diffuser: f16 = GN 160
Halo 42" umbrella softbox: 14 = GN 140
24" silver umbrella: f11 = GN 110
24" 'deep' silver umbrella: f9 = GN 90

1250 watt-seconds @ 10 feet
8.5" high output reflector: f29 = GN 290
Halo 42" umbrella softbox: 18 = GN 180

The Norman P1250D power pack has a maximum of 1250 watt-seconds (really?) with switchable 250, 500 and 750 watt-second settings. Each LH2000 lamp head uses a 150-watt halogen modeling light which can be set to correspond to the lighting ratio between lamp heads for a consistent preview. At the power pack, I can plug in as many as four lamp heads in the following combinations: 1@1250, 2@750/500, 3@750/250/250, 3@500/500/250, 4@500/250/250/250 or 4@250/250/250/250.

Got the owners instructions from Holly Enterprises in North Hills, CA - many thanks Brent for your help! I have a much better appreciation for the Norman brand now...

Needless to say, this just scratches the surface, but I am loving every minute of this gear and have a whole new skill to learn!

Mule

Nikon DSLR Intervalometer 101

2007-09-11T12:07:00.000-04:00

Time lapse photography is very cool when you can actually see it all happening at one time. Apple's QuickTime Pro ($30) makes that possible by taking hundreds or thousands of individual images and sequence them together into a 'movie' of sorts. To do this, go to your Nikon's built-in intervalometer - Nikon calls it Interval Timer Photography (its menu is under the Camera icon on your Nikon DSLR body).

(D200 Users: On page 89 of the D200 manual, you get a simple directions and tips on camera positioning, using Manual vs. other modes, etc. that are likely to be the same or similar on other models.)

First, you set the Start to either Now or Start Time. 'Now' is immediate with a 3-second delay before the sequence begins. 'Start Time' can be set for hours and/or minutes according to the clock settings you have in place.

Second, you navigate to the Interval screen and set the time BETWEEN frames in hours/minutes/seconds. (see Step 4 calculation)

Third, you set the Select Intvl* Shots menu to record the number of shots X the quantity of each frame (for bracketing) = Total Number of Shots recorded. (see Step 4 calculation)

The Start Menu will let you initiate the sequence by selecting On and pressing the Enter button on your D200 body. Upon completion, copy files to your computer and use QuickTime Pro or another popular video editor to combine your images into a streaming presentation. Then upload to your web host for distribution. That's it!

Intervalometer Setup
Let's use a sample scenario that will last about two hours - a mountain scene, ball game, or similar situation. Here are the basic steps to determine the intervalometer settigs you will use.

1) Convert hours into minutes: 2 hours = 120 minutes
2) Determine total number of seconds: 120 X 60 = 7200 seconds
3) Determine time length of finished sequence: 300 seconds(at 30 fps)= 10 seconds of playback.
Use these fps rates to calculate:
U.S. TV Video: 30 fps
European Video: 24 fps
High Definition Video: 24 fps
4) Interval Rate: 7200 seconds of sequence divided by 300 final sequence frames = 24-second intervals for a 2-hour recording

Calculate a few scenarios ahead of time and you'll be ready to setup and shoot with no delays.

Tips
- For unattended sessions, use a tripod. If outdoors, secure your tripod well to prevent wind from knocking it over, protect from rain, etc.
- Prefocus to avoid inaccurate or random AF operation
- Use WB Preset and shoot in Manual Mode to maintain a consistent exposure - or leave in P, S or A for continuous metering during changing light conditions
- Use a fresh battery and a blank CF card to avoid running out or power or memory
- Have fun!

I'll report on the postprocessing and QuickTime conversion portion of this process when I receive the latest QT version from Apple...

Mule

LR Grayscale Conversion Primer

2007-09-08T13:36:00.000-04:00

I am fascinated with Lightroom's Grayscale Mix palette - it is far more comprehensive than Photoshop's few controls for accomplishing this essential photographic effect.

The following images serve as a primer for graycale conversion in Lightroom. Colors and their temperature are key ingredients along with the color shifts you can introduce to 'create' a grayscale to your liking. Emphasis can be place wherever you feel it is needed to define sky, subjects, shadows and highlights at values you desire - it's rather amazing what Adobe has programmed into Lightroom for us, so start experimenting on a full scale image to learn what it can do for you.

Follow the sequence of images and the 'builds' I have created to accomplish the final image...

Straight Grayscale Conversion (no corrections)

+100 Red

+100 Red +100 Orange

+100 Red +100 Orange +100 Yellow

+100 Red +100 Orange +100 Yellow -70 Blue

As you study the progression, you can see how different areas react to the 'color change' we invoke on a grayscaled RGB RAW image - from shadow area to midrange to sky, etc. Keep in mind that we have not left the RGB color space, so these images can be printed in color - especially if you do on to use Split Toning - or converted to an 8-bit, single channel grayscale.

Mule

Getting Creative with Lightroom 1.1

2007-09-06T08:43:00.001-04:00

Grayscale Conversions and Split Toning go hand in hand, as these sample files well demonstrate. Start with a well made grayscale conversion using LR 1.1's new Grayscale mix controls - and move right into the Split Toning pallette for endless fun in colorizing your black and white compositions.

Color Original

Optimized Grayscale Conversion

Split Tone 1

Split Tone 2

Split Tone 3

Split Tone 4

As you can see, the iterations are infinite - moving the highlight, shadow and saturation sliders in Split Toning produces many variations that will affect different areas of the original - all based on the original colors. Temperature and Tint also play a part in the Grayscale Conversion process. We have a lot to work with in LR 1.1 - so let's get creative!

Mule

RGB: The Universal Color Space

2007-09-05T22:22:00.001-04:00

RGB is really the only legitimate color space. We see in RGB. Cameras record in RGB. All other color spaces come out of it - LAB, CMYK, etc. But as photographers, all we care about initially is RGB - and which one to shoot in and process in.

RGB comes in several flavors too. On your DSLR, you can choose between sRGB and Adobe RGB for JPG shooting - RAW is a different story. For RAW there's another color space just waiting to be discovered. Here's the short list:

sRGB is the smallest color space and designed for use on the web, for thrifty prints at White House Custom Color, JPG's sent your Mom and clients, slide shows and web galleries - in other words, monitor viewing and small photo prints. sRGB's narrower color space compresses wider color gamuts to print/view most acceptably on low end devices - again, monitors and small prints. Opening files in this color space will always result in clipping of some colors - don't shoot in sRGB unless you don't have anything else - view it as an output space.

Adobe RGB is a wider color space that translates well into high end print media. While bigger than sRGB - and the preferred color space to shoot high quality JPG's - there is still clipping of some portions of color . It's most useful as an output color space for commercial printing and custom enlargements after conversion from RAW postprocessing in the ProPhoto color spaces. Therefore, Adobe RGB is also not the best starting point for original image files. What! Why? Because it does not contain all the colors your sensor can capture - read on...

ProPhoto RGB is the largest color space RAW images can be converted to after they are captured off the camera sensor. Read that again. ProPhoto RGB is actually a wider gamut than the human eye can see, which is perfect for our purposes. Postprocessing and editing RAW files in ProPhoto RGB can be performed in an 8-bit or 16-bit color depth and will retain all the sensor's pixel information until you convert to either a Adobe RGB or sRGB color space for monitor viewing and prints.

Unlike Photoshop, Lightroom does not burden much color management on us and has removed most if not all the color space concerns for us - it uses ProPhoto RGB as a RAW conversion default and allows us to convert to Adobe RGB and sRGB at the time of output. I like that - even if I can't see it on my display. Keep your monitor well tuned - or buy a decent one to start with - and you will spend more time working on your images and less time worrying about color spaces.

Mule

Grayscale Conversions: the Science Behind the Art

2007-09-05T16:45:00.001-04:00

I always review the science behind photography to better understand - or just figure out - whatever I'm attempting to do. To condense the specifics behind grayscale conversions, first we need a little background about conversion to Grayscale from RGB...

What is RGB? What is Grayscale?
RGB is nothing more than three separate channels of 256-step, 8-bit grayscale images taken through a Red, Green and Blue filter overlaying the sensor in your DSLR. Each one records a different luminance range depending on the subject colors as they pass through the RGB filtration. Look at an RGB image in the Channels pallette in Photoshop and you'll see what I mean. None make an ideal grayscale...

Grayscale, in the purest sense, is a 256-step, 8-bit image - that's all. Those of us in the graphic design field refer to these as halftones when printed in black ink only. They have real limitations in representing all the tones of an original image and that has fomented the development of duotones, tritones and quadtones in the traditional history of lithography (printing). But I digress...

Downsampling a three-channel RGB image into a 256-step single channel image renders a pure black-and-white image - the trick is getting a pleasing or accurate representation of the scene. Traditionally, we have seen folks (1) simply desaturate an RGB image and yank Contrast, Brightness and Exposure controls with abandon to achieve their desired effects. Then, an 'educated' way to render a grayscale emerged by moving the image into LAB space and singling out the L channel for a clean, neutral grayscale image. That's true, it is, but now you have 1/3 of the data and a significantly smaller printing file to work with. You can see why we hear so much talk about this subject...

RGB to Grayscale Advantages
Keep an image in RGB makes sense in two ways - image control and file size. You want to keep both, right? Modern output devices are so handy that downsampling to a single channel of information is practically foolish - alright, it is - really. Software can create a superb grayscale rendition in so many ways that an RGB image shouldn't be viewed as a color file exclusively. It's application in grayscale conversions is practically unlimited - and its color data is the secret ingredient.

Photoshop vs. Lightroom
Photoshop's Channel Mixer allows for varying the levels of each RGB channel to maximize the potential of the original color image. When converting to a grayscale, this tool can individually alter the luminance of each channel, significantly altering its appearance to meet your personal criteria. But, being a little long in the tooth these days, it's limited controls are becoming apparent.

Lightroom 1.1's 'conversion' tools actually exceed Photoshop's with eight color sliders versus PS's three. Unique to LR is its ability to affect temperature and provide an Auto-Adjust after each adjustment - providing a much wider range of control. Warming and cooling the color areas produces big differences in grayscale rendering and will help you achieve a pleasing conversion with practice. Split Toning allows for highlight and shadow colorations for even greater nuances. With Lightroom, you have serious grayscale conversion software at your command.

Today, it is commonplace to leave your grayscale conversion in the RGB color space at the output stage - this gives greater depth and richness to the tones and allows for 'colorizing' in sepia and other tones. Or mixing color areas with grayscale areas - common in wedding images.

Any way you look at it, grayscale conversions are being made better with the new tools in Lightroom 1.1!

Mule

Lightroom: Color Spaces & Workflow

2007-09-04T23:09:00.000-04:00

I've been reading Martin Evening's LR book and am learning a ton about it. For example, when you see your images the first time around in LR they may appear dark but still have a full histogram representation. This is due to a 1.0 linear gamma as the file comes directly from digital camera RAW files. (Explains why the LCD review on the camera is never the same too!) What this means is that if displayed as-is, color and exposure adjustments would be overly sensitive with very tightly packed midrange and very stretched out highlight characterization. To view your images more like the human eye, LR uses sRGB-based controls which make subtle changes possible without overdoing anything - especially in the Exposure and Blacks sliders.

Now, before you freak out and assume this must mean all your fine artistic images have been squeezed into an inferior color space - they're not. In fact, all images can be set to open in either a 16-bit RGB Prophoto or Adobe RGB color space - and kept there until final output is determined. The interface simply utilizes an sRGB 'response curve' to control editing.

So your saved master RAW files are just as exquisite as they were when first captured. But where are you taking them? Well, you decide of course, but Martin suggests we use external drives to avoid internal drive/CPU failure catastrophes and maintain portability - unless you have those fancy plug-in hard drives on your tower. I'm doing so with a 160GB Maxtor I picked up from Buy.com for under $100.

Overall, LR is becoming a well used application on all my images. A quick review and flagging of keepers, followed by color corrections/preset treatments and/or cropping, and a web gallery for immediate distribution to friends and business interests is a simple routine now. Here's where LR really shines. Setup your viewing to scroll through and flag the keepers - use the arrows to navigate and press P to flag or U to unflag. Then perform an initial color adjustment to a good representative image. Select similar frames you want to adjust and use Synch to add that adjustment to all the others. You can still adjust individual frames but this is where LR saves you a bunch of time. You can Synch everything from color edits, cropping, sharpening, noise reduction - the whole scrape or just what adjustments you want to.

After that it's time to make a Collection(s) that will segment the images for printing or web gallery display. You should be able to LR 400 images in a couple hours once you get comfy with this woprkflow. Most of my time was getting the workflow understood and learning keyboard shortcuts.

I PP'd a recent wedding assignment (650+ images) in about four hours - no record but well under my previous methodology- and I'll be twice as fast the next time. I downloaded, reviewed, flagged, color corrected, cropped, and output a web gallery of my Labor Day weekend Boomsday images (350+) in about two hours - I was rockin'!

I can see my use of PS CS quickly being reserved for elaborate web/graphic design and complex image edits (clipping paths, serious cloning, etc.) from here on out - it's just too laborious to use all the time anymore.

Mule

Boomsday - The Biggest Fireworks Display in the USA!

2007-09-03T21:30:00.000-04:00

This may be little ol' Knoxville's biggest claim to fame other than the UT Vols football team. Boomsday is a $1 million dollar pyrotechnical display of nearly astrological quality. This teaser image is just one the images I culled out from my Labor Day weekend shoot along with a few scenes from the 1982 World's Fair Park as well.

See the full Boomsday 2007 slide show!

Shot with 18-70 ED and 70-300 ED Nikkors on a D200, I positioned myself within 100 feet of the launch zone - it was a humbling experience. The sheer noise level was incredible. This year they abandoned a popular musical choreography approach and simply barraged us with an endless stream of launches that produced some amazing light and pattern combinations. I shot the entire fusillade nonstop and culled what is presented in the slide show.

Instead of using the traditional Bulb method of opening the shutter, waiting for something interesting to happen and shutting it down manually, I used 1/20-1/60th shutter speeds at a 1250 ISO. This technique more sharply captured the ambient light and action surrounding the launches explosions and seemed to add another dimension to the images.

Much credit goes to Adobe Lightroom for an expeditious review, pick, edit, and conversion of the images into the Flash web gallery. This program is phenomenal for cranking out photo presentations lickety-split and has revolutionized my postprocessing workflow.

Mule

Power Purchasing Nikkors

2007-08-28T08:21:00.000-04:00

In the quest for the Digital Grail of Nikkor optics,there are two principle methods of purchase - eBay (and other similar auction/Buy It now resources) and online retailers. Let's look at them a little...

eBay
The advantages and disadvantages of eBay-style purchases are obvious - pay the stated price or wind through the auction process for a potential 'win'. You can ask questions and check their rating as a seller, but that's time consuming and offer no real buying advantage. Without written assurances, you have little recourse but to accept your purchase as long as it is what they described. It can easily become a 'pig-in-a-poke' situation and we'll find ourselves reselling that item ourselves. It works, but...

Online Retailers
This lesser known resource requires a little more upfront effort but has some real advantages to gain. As in any typical retail relationship, a solid dealer will offer you more assurances of satisfaction and options to return without debate. I have used both methods about 50/50 and like this one for it perks. For example...

Once, I checked up on a none too common 35/2 AI-S I was tracking on eBay and noticed it was being sold by XXX Camera. Hmmmm, why not check their website and see if it's for sale there too? I can get an idea of what they want and ... maybe I can buy it before it is bid on and lost to a savvy eBayer!

Sure enough, they had it listed in their used gear for $110 in an 8 condition. I pulled up my Nikkor serial numbers reference webpage, gave 'em a call and had the kindly salesman give me the specs and a thorough examination of its condition on the phone. As a late model AI-S, all the important areas checked out and I bought this gem for $122 shipped with a 48-hour no-questions-asked return opportunity.

Online retailers frequent eBay constantly. Call them if they haven't received any bids yet and have the item listed on their website. You may be able to avoid the auction process and save money too - that's power purchasing!

Mule

180/2.8 ED AI-S Nikkor - go loooonnnnggg!

2007-08-28T08:01:00.000-04:00

Here are a few images - and 100% crop enlargements - taken in the Great Smoky Mountains on New Year's Day 2007 to demonstrate the remarkable quality the renowned 180/2.8 ED AI-S Nikkor.

All images shot at f8

Mule

24/2.8 Nikkor AI-S: A funny little lens it is...

2007-08-28T07:58:00.000-04:00

Funny because of the way this lens performs on my D200 - or should I say the way the D200 performs with this lens. Here's why.

In the course of using the Electronic Rangefinder to confirm focus (since the image is so small), I was horrified to see soft images emerge from my first few frames. I got a lemon, I thought - hodgbodkins! But then I noticed that after the ER llight came on I could turn the focus ring quite a bit before the ER light went back off - now that's funny.

So, starting from infinity, I took a frame right after the ER light came ON while turning the focus ring - and another just before it turned OFF. Voila! Sharp images occurred at one extreme end of the ER's focus range - and garbage on the other. Funny, huh? Take a look at these 100% center section crops - no PP whatsoever:

Soft Center at Infinity Side of ER

Sharp Center at Closest Focus Side of ER

So what to do? It's simple really - I start the focus ring scale turned to the right and move towards the infinity setting. As soon as the ER light appears I stop - that's where sharp focus will occur. Chimping confirms whether I am on the money or not. A little slow but, then again, it is a MF prime...

With a 52mm filter size, this Nikkor model will utilize many accessories I already have - including the Lester Dine Macro Ringlight (a major reason for buying it). The 24/2.8 AI-S is in perfect shape with nary a mark in the paint and perfect glass. It weighs next to nothing and at an effective focal length of 36mm , the 24/2.8 Nikkor AI will make a great 'normal' prime for many subjects.

Mule

AI > DSLR Mounting Reference

2007-08-28T07:56:00.000-04:00

Did you know that you can mount pre-AI optics on a D40 - and NO other current Nikon DSLR?

This and other details are available on Thom Hogan's site at this webpage - a valuable reference of not only Nikkor acronyms but AI/AI-S compatibility on Nikon DSLRs as well. Not all current Nikon bodies are the same - no news there - but the functionality of various optics on them is.

Mule

Nikon D300 Financing 101

2007-08-28T07:54:00.000-04:00

When it comes buying a new camera, too many emotions can cloud the opportunities we may have right in front of us. Then the pricing of new models can scare us off and we tend to 'hold out' until some discounting miracle occurs, which normally happens when that model is about to be discontinued.

I am committed to maintaining state-of-the-art equipment with a minimal investment. Owning, but seldom using, multiple camera bodies is very costly long term. Technological advances make these items lose their value quickly enough and resale becomes truly disappointing when little cash value is left. I also don't need more than one camera body either, so learning is enhanced when concentrated on current technology. It also keeps us prepared for further developments that will add real value to our most precious commodity - knowledge.

Therefore, I am no longer a sentimentalist as I once was regarding my main shooter - I have plenty of antique cameras to fondle for that. This is a purely personal perspective and not one everyone shares, I know, but we all get so excited when new models come out - and equally dismayed when we can't afford one! I don't want to be in that position and have created a strategy to avoid it.

By viewing our cameras as we do leased items, we can maximize their value over time while we also minimize the actual cost of ownership. I adopted this approach when I sold my D70 to acquire a D200. I lost more money than I should have because I waited too long - a mistake I won't make again to acquire a D300. So, assuming you own a D200, here is my course of action to upgrade to a D300 as soon as they are available (I have already pre-ordered, BTW):

1) Buy new body at best price upon release - i.e., D200 = $1679
(future discounts offer little real savings over entire model life)
2) Sell current body & recoup an average 60% of purchase price - i.e., D200 = $1000
(estimated resale value of D200 when D300 is released)
3) Use new body for 24 months - repeat Steps 1 & 2

I have conservatively calculated that if I can recoup just 60% on my D200 DSLR body, the cost of ownership of a D300 DSLR will amount to $399.99 a year - or about $33.33 a month - for the next 24 months. If I keep the camera longer, that cost goes down even further.

It's a business expense for me as well, so I save again at tax time. By recapturing the remaining value in your D200 immediately, purchasing the Nikon D300 body can be no more expensive than a new prosumer body model. (A golden nugget here is the fact that the D200 isn't being discontinued. That will preserve resale value longer than if it was deleted from Nikon's lineup - our unique opportunity to upgrade!)

Therefore, I have decided I will NOT retain DSLR gear beyond 24-36 months - the rate of depreciation makes resale and new equipment acquisition a more expensive approach the longer you wait. In view of the enormous value Nikon is including in its newest upper end cameras, it would be financially smarter to purchase a new Nikon 'sooner than later' with such competitive pricing in play.

PS: Ritz Camera pre-orders list the D300 at just $1799 - let's hope that's the actual street price!

The Frugal Mule

D200 vs. D300 Features

2007-08-28T07:47:00.000-04:00

The following is a compilation of the feature differences between the D200 and D300. With a proposed 60,000 unit production schedule each month, these compelling advancements will make the D300 the next most popular DSLR Nikon has created. Enjoy...

Sensor
• 23.6 x 15.8 mm CMOS sensor
• DX format
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 13.1 million total pixels
(• 12.3 million effective pixels
• 3:2 aspect ratio

Image processor
Nikon EXPEED
(Real-time lateral chromatic aberration compensation and refined high ISO noise reduction)

A/D Conversion
14 bit

Image sizes
• 4288 x 2848 [L; 12.2 MP]
• 3216 x 2136 [M; 6.9 MP]
• 2144 x 1424 [S; 3.1 MP]

File formats
• NEF (12-bit or 14-bit *, compressed or lossless compressed RAW)
• NEF + JPEG
• TIFF *
• JPEG (EXIF 2.21)

Scene Recognition System
(greatly enhances the accuracy of, auto exposure, auto white balance detection and auto focus
in the camera)

Picture Control System
(allows photographers to fine-tune and adjust fundamental rendering options for their pictures so they can define the exact tone, sharpening, brightness and saturation they prefer)

Dust Reduction
• Self-cleaning sensor unit

Auto Focus
• 51 focus points (15 cross-type sensors)
• Multi-CAM 3500DX

Focus Point
• Single point from 51 or 11 focus points
• Liveview (Tripod mode): Contrast AF on a desired point anywhere within frame

AF Area Mode
• Dynamic Area AF [9 points, 21 points, 51 points, 51 points (3D-tracking)]

Exposure Compensation
• +/-5.0 EV
• 1/3, 1/2 or 1 EV steps

Sensitivity
• Default: ISO 200 - 3200 in 1/3, 1/2 or 1.0 EV steps
• Boost: 100 - 6400 in 1/3, 1/2 or 1.0 EV steps

Viewfinder
• Frame coverage 100%

LCD monitor
• 3.0 " TFT LCD
• 922,000 pixels (VGA; 640 x 480 x 3 colors)

LCD Liveview (frame a photograph using the camera's high-resolution LCD monitor)
• Handheld mode: TLL phase-difference AF with 51 focus areas (15 cross-type sensors)
• Tripod mode: focal-plane contrast AF on a desired point within a specific area

Continuous shooting
• With built-in battery: up to 6 fps
• With AC adapter or MB-D10 pack and batteries other than EN-EL3e: up to 8 fps (for up to 100 consecutive shots using a SanDisk Extreme IV CompactFlash 1GB card)

Storage
• Compact Flash Type I or II
• UDMA

Vertical grip
• Optional MB-D10 battery pack / vertical grip
• One Rechargeable Li-ion Battery EN-EL4a, EN-EL4 or EN-EL3e or eight R6/AA-size alkaline (LR6), Ni-MH (HR6), lithium (FR6) batteries, or nickel-manganese ZR6 batteries

Not bad upgrade for just $1800...

For a great visual comparo of D200 vs. D300 features, go to the Digital Review.ca Website - excellent report there.

Mule

Shutter Life Expectancy

2007-08-28T07:45:00.000-04:00

Now here is a worthy cause - shutter life expectancy based on reality!

You can select the camera you own and enter data into their database for a history of that camera's shutter life results - the existing info is very interesting - and somewhat scary too!

Go to: Shutter Life Expectancy

Mule

Graphic Design with Photoshop CS

2007-07-01T09:40:00.000-04:00

Have you discovered the power of creating fully finished graphics in Photoshop CS? With the ability to incorporate all your image editing, special effects with basic layout tools, you have essentially infinite creative control in one application.

Here's a sample of an ad I did entirely in Photoshop CS2. Normally, I would normally create bitmaps and import them into Quark Xpress for layout, but to get this look, and save a ton of time and aggravation, I did the whole job in PS CS.

One-Stop - Photoshop!
Taking a stock photo, I applied a texture effect to separate it from the more real instrumentation rack. Then, I chopped out the middle for some white space to add the message and added the drop shadows. Determining the best the layout with all the various elements being visible is a real designer's joy. Editing and resizing is so easily done inside PS CS. Color experimentation was another convenience that is not easily done in switching programs and reimporting images, etc. Matching the colorization of the stock image to the text was a snap - another long step in Quark Xpress. And the fact that type is rendered as vector art in PS CS2 now is another big plus!

Web Design with PS CS
Another well known venue for PS documents is the web. Design consists of creating logos, art, text and supporting images into one document. Layout is accomplished with a series of common elements that appear on each page and content for each webpage. Individual webpage are composed by making approporiate layers visible and saving the composite image as a JPG image. The JPGs are then imported into Dreamweaver or other web editor and treated as typical HTML pages with image links for navigation - simple, flexible, consistent and fun!

The following two samples are websites I designed entirely within PS CS2:

Integrated Solutions

Amberwood Custom Homes (still under construction)
In this site, we intend to include slide shows of custom home details and designs for selection and modification by customers.

The advantages of using PS CS is remarkable - every element can be created and manipulated in one document. Future edits and redesigns are easy, and output resolution can be maximized for print or web uses. Why would you use anything else?

Mule

Go Superwide - in Chicago!

2007-07-01T08:38:00.000-04:00

Nothing beats a superwide view of life - broad, spacious, landscaping perspectives are always in vogue. Bigger streetscenes and panoramas are just waiting to be captured.

The Sigma 10-20/4-5.6 HSM DC ($499) is a great buy among the current crop of superwides. It ranks high in sharpness compared to similar Tamron and Nikon zooms - with the Sigma being the wider of the bunch. Let's take this superwide to Chicago and see what we can take in...

The Bean is a huge metallic art form/tourist attraction... intentional distortions are addictive with a superwide. You could shoot here all day!

Architecture is another subject you won't run out of in Chicago. With the Sigma 10-20, keeping the verticals and horizontals straight will create visually enticing scenes without obvious distortion. Getting creative is not hard work with this great optical value.

Yes, Chicago is a great place to go wide - superwide!

Superwide on the Inside: Custom Home Interiors with Sigma's 10-20 DC HSM

2007-07-01T08:24:00.000-04:00

In preparation for a website I was commissioned to build, we shot a custom home interior for a custom home builder. I used Sigma's 10-20/4-5.6 HSM DC with all shot taken at f8 - f10 - the sweetspot for this superwide zoom. While DOF at f8 is not a problem at the 10mm setting, it becomes necessary at 20mm to go up to f16 for maximum depth.

Using your superwide with view camera techniques (swings and tilts), orient the lens to bring the image into proper alignment visually - a planoparallel relationship to the subject is needed to minimize distortion. Further corrections to straighten verticals can be made on the computer where compositions cannot be perfectly attained in the viewfinder. Then, go on to retouching and sharpening.

Fill flash was provided by my SB 600 / SB800 units and Lightspheres - in close quarters these have proven to be really effective where umbrellas are just out of the question as they cannot be hidden easily from the image area or provide the omnidirectional lighting needed for illuminating large spaces.

Without further adieu...

You don't need to shoot an entire room if you can communicate the purpose of each room with enough details - the sideboard added the details needed in this scene...

By necessity, I had to retouch out the feet lightstand in the hallway of this image...

The exaggerated lines in this bathroom scene are almost uncomfortable - I'll let the photo editor decide how much ceiling they would want to show here...

Some shadows (behind the door and by the nightstand) are needed to prevent the impression of an overlit image. My goal was to prevent the viewer from locating the source or direction of your lighting. I had a magazine editor ask me if I used additional lighting in this series - wow, each one was shot using the Lightshpere. I took that as a compliment!

Mule

A Lightsphere Wedding

2007-07-01T07:48:00.000-04:00

As an early adopter of Gary Fong's Lightsphere flash modifier, I have touted its success to photogs looking for a better way to light at wedding and event assignments. In this blog, I include a sample image from a recent wedding that includes a simple but clear example of Nikon CLS lighting.

Deconstruct
Using the built-in flash as the Commander, you have a 33 foot communication range. An SB800 and SB600 were used on lightstands in Remote Mode and controlled at the camera through the Flash menu. Using the SB800 as a Commander permits control through its LCD interface - easier and quicker but you lose the use of a flash unit if it isn't well placed to light the picture. The built-in flash in this series was actually used to provide some fill at close range but I often turn off this flash and just use it to trigger the Remotes.

Each unit had a Lightsphere attached. I have modified mine with self-adhesive HVAC aluminum tape as shown here. This is to increase output when positioning the flash head straight on toward the subject where no reflective ceiling or wall is available.

Mounted on Bogen flash satnds, they were positioned in front of the group to the sides and close to the outermost individuals - with the Lightsphere/flash head assembly positioned straight up as Gary Fong recommends. This produces the least amount of shadow and maximum 'wrap' on the subjects. It worked in this instance because...

The Other Modifier
The ceiling was about 10-12 feet high - this is a major factor to consider in regard to light output - higher ceilings will force you to (1) angle the head toward the subjects for more illumination, or (2) raise the flash units up closer to your 'reflector' (ceiling) surface to reduce the length of the light path from the flash to the subject. In this image, they were placed a little over head height to cast shadows down and behind the group. As you angle the flash head more and more toward the subject, shadows will return as an issue to deal with - the Lightsphere only failing.

This pre-ceremony candid is a great example of 'wrap' lighting where walls aid the bounce effect of the Lightsphere.

Positioned straight up in close quarters, the Lightshere can use existing walls and ceiling to create a effective softbox effect, like here where we waited for the bride to emerge from a small room into the wedding hall.

Working Within Limits
Setting camera at ISO at 100 often pushes you to shoot near or at wide open with a slow f3.5 zoom - going to a 200 ISO adds a stop of DOF, so these units are working hard to expose well. I always set flash output by +3 in the camera's Flash menu for added available power.

Lightroom to the Rescue!

2007-06-29T19:40:00.000-04:00

All hail the new champion of photographic postprocessing!

The newest addition to Adobe's legendary software lineup is a solid step in the right direction for photogs in need of a rapid route to finished images they can submit, publish or just email to family and friends.

Along with an intuitive interface, Lightroom borrows some of Photoshop's brains and adds some good old fashioned organization to this laborious process. Open your latest batch of imagery in the Library for intial inspection and culling, jump to Develop to get the postprocessing done, then decide on Slideshow, Print or Web for output to publishers, websites, wedding clients and the like.

The emergence of indie Preset writers is a strong indication of Lightroom's popularity - much more so than most other apps of this kind. I have a decent collection of these freebies already and like some of the effects a lot.

Check out a few I created in just minutes:

This is a favorite for adding character to somewhat ordinary images.

This is an image that I subjected to a number of custom Presets...

And another image subjected to color and contrast effects.

This image is one of a series of 36 parts images - my first opp to see Lightroom's organizational and processing advantages. An hour or so later, I had them adjusted, cropped, renamed and burned on CD for the client. I especially like the Export As Previous selection for making consistently sized images a snap.

With Adobe's horsepower in creating a new chapter in the Photoshop saga, this direction bodes well for the future of photographer-specific tools. Already releasing their first update, the Adobe® Photoshop® Lightroom™ 1.1 update includes these enhancements:
• Flexible image management for multi-computer workflows
• Improved Noise Reduction and Sharpening technology
• Compatibility with Microsoft® Windows® Vista™
• New camera support

Lightroom is the beginning of the end for softwares lacking a clear, step-by-step interface. Their 'rooms' interface is a refreshing change toward speed and convenience and brining the many tools into a more familiar mindset. While it is a far cry from Photoshop's plug-in dynasty of creativity, Lightroom offers an approach to productivity that Photoshop never attained to. Whatever their relationship turns into, these softwares have solidified Adobe's reign over image management and manipulation all over again. Hail the new champion - again!

Travels with Mr. Lumix

2007-06-29T19:00:00.000-04:00

A year and a half ago, I was laid off from a seven-year hitch with an environmental corporation that went nearly belly up with a huge layoff and splintered business groups. I was among the casualties, of course, and found myself relying a marketing design consultancy I have had in place since 1990. Fortunately, several good turns of fortune, and a lot of digging for sufficient clientele, lead me to a stack testing company that needed a website and a field technician. As part of a consortium with another company, I've received a couple year's worth of work that has become a bread and butter account while entering an entirely new field of work.

One of the advantages of working at heavy industrial plant sites has been the opportunity to shoot some quasi-clandestine industrial images while on-site as a contractor. A few images always make the otherwise hot, humid, strenuous and long-houred days photographically rewarding.

Allow me to introduce Mr. Lumix. As Panasonic's Model DMC-LZ5 point-and-shoot digicam, this 6 megapixel, 6X optical /24X digital 6-36mm zoom comes with image stabilization and video capability. Stuffed into a miniscule belt pouch, I can carry the Lumix all day and slip him out for rapid shots of nearly anything.

Standing on a stack between 150 and 300 feet in the air has its advantages, you know. Early morning light, high vantage points and a plethora of bold shapes and compositions is all a photographer needs to work with, right? This otherwise blah rooftop took on a visual twist when processing using a custom Preset in Adobe's new Lightroom application.

While the wide end is impressive for a consumer camera, the tele is quite a treat as well - I isolated this steel welder at roughly 150 feet with remarkable detail using the digital portion of this camera's zoom. The trick to getting good image's is the same one for all point-and-shoots in general - use only the lowest ISO settings if you want memorable or even useable results.

Mule

Welcome to Photographica!

2007-06-22T21:59:00.000-04:00

Why Photographica?
To pursue a practical but creative perspective in the wilds of digital photography, I enjoy learning and applying techniques needed for the new age of photography. Yet, I am also quick to dispel any untruths and seek enlightenment through an accurate view of new and emerging technologies. OK, enough on that...

A Little History
Photography started for me in 1965 with a Kodak Tourist 620 rollfilm camera my Dad loaned me to shoot with at the Bronx Zoo on an eighth grade class trip. I can still remember shooting a Buddha-like Orangutan lazing in his cage. With a limited artistic ability to draw, seeing those color negatives turned into prints was my ticket to creativity.

I advanced into 35mm with Dad's Petri rangefinder, an Olympus PEN half-frame, and eventually financed my own SLR - an Exa 1A with a 50/2 Domiplan. Once I learned the basic film development and printing of monochrome films, I was off on the biggest discovery any 15-year-old could hope for - recording life!

Photojournalism was all around us in the sixties with Life and Look, National Geographic and the news magazines as major informants of the day. Inside their pages was an education for any budding visual artist like myself. Spurred on by the famous precursors of modern photojournalism, I never lacked for finding new subjects or shooting styles to develop in making memorable images.

As time went on I worked with most film format cameras at one point or another - Pentax Spotmatic, Mamiya C220 series, B&J 4X5 view, a Canon AT-1, Mamiya M645 system, N70/N80 Nikon film bodies and a slew of collectible 35mm and 120 folder cameras from th 1940's and 1950's. Eventually, I converted to digital starting with a D100 and traded up to a D70 a year later. Today I shoot with a D200 and, after November 2007, I will go on to the fabulous D300. A number of consumer Nikkor zooms became disappointing so I made it a priority to whittle the glass down to what shot best and reinvested in better gear overall (see The Mule Bag below).

Photography & Graphic Design
My trade in life started in the litho industry - first running small presses, then larger ones, and eventually learning 4-color process prepress skills with litho film and masking sheets. this went on for 15 years when, in 1990, the computer made its debut in the graphic design world and printing slowly went digital. I jumped into the new technological waters with abandon - struggling to make sense of this new tool called a computer. After I had successfully transferred my chops from the analog printing world into the digital realm, I embarked on what I had dreamed of doing for years - graphic design. Today, I am a 'marketing design' resource that offers graphic design, photography, websites and turnkey production for engineering and business clients.

Photography has served me well all along the way. Never a full fledged "pro", I have shot my share of commercial imagery, weddings, microstock and art. It has augmented my marketing design services for litho reproduction with added value to customers looking for a one-stop marketing design resource.

My Camera Bag
I am in the process of upgrading from a D200 to a D300 - in the meantime i shoot with the Nikon D40 and the following optics: Nikon's 18-70G ED AF-S DX, 24-120G ED AF-S VR, 70-300 ED Nikkor, and Sigma 10-20 HSM DC.

Three AI primes include the celebrated 24/2.8 AI-S, 105/2.5 AI and 135/2.8 Q AI'd Nikkors of yesteryear - all will happily on the D300.

A well used Bogen 3221 tripod with a 3265 Griphead is always in the car. I have, but seldom use, a Bogen Monopod and QR Ballhead. A Markins M20 is in my future along with some lighter legs, but for now the Bogen gear has been a solid investment.

I also built a simple tabletop sweep out of PVC pipe and a flourescent lighting diffuser panel - works well for small items and is a mainstay for on-location small product shoots.

For flash, I utilize Nikon's CLS System with an SB800 Speedlight, five Sunpak (422D/433D) flash units combined with Wein shoe-mount and peanut optical slaves,, Bogen light stands, umbrella brackets, several umbrellas and the most used light modifier I keep in the bag - a pair of Gary Fong Lightspheres. These are invaluable for location shots where time and space does not permit a long setup and testing situation with traditional modifiers.

Softwares
Since I started shooting with the D100 in 2002, I have paralleled my learning curve with digital darkroom skills as well. Alongside favorite graphic design softwares like Quark Xpress, FreeHand and Dreamweaver, my Athlon-powered PC and Macintosh G4 are stocked with applications for postprocessing with Photoshop CS, Lightroom, and Nikon Capture.

Shooting Preferences
What do I like to shoot? Everything! Favorites are architecture, products, people and nature, but any subject that has a picture potential is fair game for me. Portraiture is an area I would love to pursue but have little room for a studio to use lighting, etc. so must rely on chance opportunities as they appear.

So that's it. Not much more to tell about me - I'd rather concentrate on photography anyway! Hope you enjoy the commentary and images I present - feel free to make your comments.

Brian Patterson
www.brianrpatterson.com