#1225 - Up close. (Hint: It's Large!)

If I ever need a image that fills the screen, this is it.  I can't say how close I was to the tracks at the time.  I'd hate to have broken some federal law that I'm ignorant of.  Or I could say this is a remote shot.  Whose to say?  Wow.

ISO 200, f/5.6, 1/160 sec, 36 mm, Aperture Priority (EC -1)

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

There are many things to like about this image.  So I'll start with the one that bothers me.  Just a little bother.
The 1225s are a bit blurry.  I'd say that is a DOF issue, but that might give a clue to how close I was.  But I'll go with this.  Due to laws of Relativity, the front of the train was moving faster than the 1/160 sec could capture without blur.  The rest of the train was OK.  I can live with that answer.
I like that the entire frame is filled.  There is smoke and train - and just the smallest amount of sky due to the boiler shape.  On the downside of filling the screen, I have to keep the original format.  I like the 1920x1080 because it fills my monitor.  The 1920x1280 doesn't fit exactly right.  Oh well, redo?
I like that there is enough angle to see all the engineering.  Pipes, bars, wheels and tubing.  Does it get any better?
I like the engineer hanging out of the cab.  Just enough for some definition, but not enough to hold your gaze.  Just like in the movies.

Chasing the Santa Express - PM #1225

One of the fundamental flaws I have is when I get a new toy, I just want to play with it.  And with the gift of the trains in the last week I've found that new toy.  Today, a few friends and I chased the Santa Express.  The Express is pulled by the PM #1225, same as the Northern Express.  The Santa Express does not follow the entire route of the NE, maybe going 50% of the way.  However, it made it far enough out of Owasso to make our day very eventful.
We started the day in Owasso, checking out the museum where the SE started.  We were there early enough that we could chat with some of the volunteers getting the train and cars ready to go.  And what a show we saw.

Bob and Rohn

Yes, it was cold.  I used gloves most of the day.  For some reason when you wear gloves, the shutter release button moves its position.  I need to let Nikon know about this.
Close to an hour before the SE scheduled departure, the train yard came alive.  We weren't the only ones out for the day, not to ride the train but to photograph it.

No problem, you're not in my line........

Actually everyone out there was playing by the rules, no one was hurt by interfering in one of my shots.
The most interesting sight of the morning was 'fueling' of the #1225.  I never think of these things until, well, I see them.  The #1225 runs on coal.  Lots of coal.  The #1225 needs roughly a ton of coal for every 15 miles to generate the steam required to move the engine and its cargo.  It never occurred to me to ask, well - how is that coal loaded?  Had I asked the question, this would be the answer.  You get some help.

Loading coal on the #1225.

With the train fueled, an intricate ballet of machinery started.  The engine need to exit the yard ahead of the passenger cars.  While the engine and cars were moving around, the peanut gallery would offer guesses as to what would happen next - and we were never right.  We did know which directing the train would end up leaving Owasso, and with that information we were never out of place.

The A-Team

After the train left the yard and staged itself for the passengers, we took off for intersections of road and rail road.
Our first stop was at Carland, where Santa was waiting to meet the train.  I have some images from there, but nothing exciting.  But our second and last stop of the day was at an off the well worn track where a dirt road crossed the tracks.
For me, this was the location of the day.  All that was missing was some loose snow to complete the effect.  Other than that little item, perfect.
I have two shots that I really like.  The first on, which will be posted soon is a little more creative in that there is motion involved.
This one is a little more standard,  The whole series from this location is good, but this is the best of the bunch for me.  No phone poles.  Correct era passenger cars.  All the steam plum.  Headlight not blown.  Awesome.

ISO 200, f/5.6, 1/400 sec, 50 mm, Aperture Priority (EC -1)

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

I was sitting on the road on top of some light snow, with all the joys that brings.  All things considered this is probably one of the better shots I've taken.  The scene was right, the ISO was right, the shutter speed was right and the frame was right.  Very few times does that ever happen for me.

#1223 in Grand Haven

While looking for information on the PM 1225, it turns out that a train of the same series exists in Grand Haven.  I know this, and I've seen the train on display.  Grand Haven has a lighthouse that I've been to a few times - and the train display is close by.
Photo note, this was very flat sky day.  I took this image on the D500's test run a few weeks ago.  This was taken in Aperture priority mode.  In order to battle the flat sky, I shot with -1.67 exposure compensation.  That's pretty low for me, I usually don't drift south of -1, but sometimes you gotta do what you gotta do.
Back to the train:  

Essentially, the #1223 and #1225 shared similar paths and dates.  After 'retirement' in 1951, this train was saved from the scrap yard in 1960 to be a display at the state fairgrounds in Detroit.  In 1981, the train was moved to Grand haven where it sits today.  The train is cosmetically restored - and looks pretty good.
From of the cars on display:

And the train display:

ISO 100, f/11, 1/80 sec (Aperture Priority -1.67)

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

Looks in pretty good shape for being out int he elements.  I'm fairly certain this train will never move again, but you never know.
This train learning experience has been a fun journey.

#1225 In Ashley

At the end of the Northern Express run is the village of Ashley, MI.  The Express will stop in a position to allow the passengers to disembark over a concrete, solid road.  When all the passengers have left the cars, the train will (very) move back to clear the intersection.
While this is in progress, all the photographers tried to get close to the engine, only to be held back by 'security'.  I overheard one photographer say that this was the first time this policy was enforced this year.  But was fun time and a chance to chat with fellow shutter bugs.
While moving in a reverse direction at a slow pace, there was steam everywhere.  Great visual.  Not so much for image file.
Talk about flat light.

ISO 1000, f/5, 1/1250 sec, 20 mm

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

First, stuff on the right has to go.  The branches and the objects just in the clearing steam.  I'll take whatever I can to get some definition in the flat parts.
I have some options.  I could go B&W?  Single image HDR to get definition?  Paint?
If I go B&W, my go to set of filters are NIK - when it was free.  I use the Silver EFX Pro 2 and the one that caught me was based on the Film Noir presets.  I still like another preset used on a model train - but I don't want to get caught in a rut.  These steam trains remind me of days gone past and so B&W is a fit.

That looks good to me.  Looks like what I'd imagine Detroit or Saginaw looked like in the late 40's and early 50's.
I tried a single image HDR and what I liked most was a B&W take.  This image took it in that category.
But now that we have a painting option, how would that look?  Again, due to the whole rut thingie wanted to try other options/looks.
What wound up as the paint option started as a sketch search.  Although there are very elaborate paint options, I still think for my purposes less is more.  The Carland Elevator Paint is probably more that what I originally wanted to do, but in that shot it worked.  All of that subject was cold to me.  And that effect worked there.  This is different, it needs to be more 'real'.
So I wanted to go with more of a drawing look.

That pretty much nails what I was looking for as an option when nothing else works.  I like that  one all day long.  Looks like it belongs as a story board for a Spaghetti Western.  That's a far way from Michigan.
A few years ago, I introduced HDR to the photo club of which I am a dues paying member.  Caused a lot of ruckus.  I can laugh at it now.  I stress dues paying, so they couldn't kick me out.  It all worked out.
In January's club meeting, I'll show this and the Carland image.  That'll be fun!

Carland Elevator - Paint

I really like the Carland Elevator image.  Problem is, as much as I like it, there is no zip, zang or whatever to make it stand out. The sky is way too bland and flat.  The subject, unless you like yellow, old machines and an optically challenged blue building it probably isn't for you.
I always liked doing something different with images.  Plenty of great photographers out there, I'm not going to compete.  But I've found my niche where I'm happy.  But this year, for the trains, planes and nature I've gone straight photograph.  And I'm real happy with it.  When I get more comfortable with these subjects, I may stray to the HDR/contrast look that I like.  Who knows the future?
Back to the present and the Carland Elevator.  This image wasn't just a 'snap'.  I saw the image in my head - and worked to get it.  It just didn't work out.  Stuff happens.  No participation trophy.
So usually when I get a shot I like, but can't do much with it - I'd go HDR.  See what happens.  And I did with this, but the sky was so flat - nothing came out.  Except the halos.
Where do you go when HDR doesn't work? - and you want to keep the shot.  Now I have another option.  Let's paint it.
And this is what I have:

How do you make an old, cold chunk of metal older and colder?  I'm not crazy about the trees on the right, but I can live with it.  The sky ain't pretty, but it ain't flat either.  In the end, I like how this was 'saved'.  It makes the screen saver list.

PM #1225 Rolling By - Part II

I have to admit, this past weekend's chase of the PM #1225 was a lot of fun.  I had very high, for me, expectations for two or three shots.  The first PM #1225 Rolling By is a case of not seeing the forest because of some damn tree in the way.  And actually, the same could be said for the Chasing the Polar Express image.  There is a shot previous to that one that looking again is what I would call better.  Not enough to re-post, but.....  Like a kid with a new toy.
So I'll call the first Rolling By image a learning lesson.  I had to remove too much of that phone pole.  It still bothers me.
Looking again, I what I would consider a better image.  That is, there was less to remove at a cost - that is the engine is a smaller part of the overall environment.
I'll go with this one.

ISO 1000, f/5, 1/3200 sec, 52 mm

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

Where is the snow when you want some?

Carland Elevator

Carland, MI.  Yes, it is a small something in Michigan.  Back in the day, Carland was a stop along the Owosso & Big Rapids Railroad established in the mid-1880s.  Carland was a lumber town that flourished when lumber was plentiful, and...   Well, it is now surrounded by farm land.
There are a number of old building still standing in Carland.  There is an old General Store and Inn along the road.  I didn't see it, but there is an old school house that has been taken over by the growth somewhere.  (Field trip!)  And there is the Carland Elevator.  I can't find much information about the elevator, other than a lot of photos with the PM #1225.  But in my mind, elevators are not critical to the lumber business, so at some point there was a change if industry.
So here we are, waiting for the PM #1225.  These are two pieces of railroad maintenance equipment.  I can only guess, but looks like the front piece is a plow and the rear piece is a track rail maintenance machine.
As to the final image, yea its a bit saturated.  I like it.  In reality it is heavily weathered - dull.
The original Nikon JPG:

The day was supposed to be sunny, but....  It was really flat.  OK, I'll get out there again.  But until then I'm going with this image.  There are two things that have to be removed.  On the left, there is a man walking down the tracks.  Small detail, but must be done.  Bigger issue is the truck cab under the overhang on the right.  That took some work, but it is passable.  Replaced it with a bush.
But focus on the saturated maintenance machines.

ISO 1000, f/11, 1/200 sec, 22 mm

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

I really like the detail in the blade of the front unit.  That has some character.  There has to be a bigger blade somewhere, right?  Michigan, snow.....
I'll be back to Carland sometime, looking for that school house.

PM #1225 Rolling By

From yesterday's "Chasing the Polar Express" adventure.  
This was an unexpected stop to catch the train.  Our group figured we'd never catch the train until it finished it's run.  Thankfully, we were wrong.
This image was taken where the RR crosses M57, just south of Ashley, MI.
For my first time in this environment, I'm OK with the results.  And I'm really happy with the 18-200 lens on the D500.
Next time, I'll position myself further away from the tracks, and use the longer lens for more framing options.
Here is the original, Nikon JPG:

As I don't use JPGs much, the settings on the camera are very average (bland).  I mostly use the JPGs for comparison, when I can.
And then this is why I shoot RAW.

ISO 1000, f/5.0, 1/2500 sec, 44 mm

NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

I recently changed my format to 1920 x 1080 to fit my monitors.  On this image, that format didn't work.  One of the most interesting parts of the image is the steam exhaust.  Again, next time.  Back to format, the 1920 x 1080 would not capture the entirety of the steam.  On the D500, the original size ration is 3:2.  So, I'm going with 1920 x 1280.  Gotta get it all.
The removal of the pole and wires was done with PS.  It did take some time and I'm not entirely happy with the upper right hand corner.  The wires on the left came out great.  I've become really happy with PS content aware fill improvements, but I should also try On One's process.
have figure this all out for next weekend's excursion.  No pressure.

Rt 381 - A Different Look

I've always wanted to do a sketch effect on some of my images.  I seen some interesting combinations of PS layers and filters, but that doesn't do it for me for a few reasons.  First, in the end it doesn't look 'sketchy' and it way too much work.
In my search, I found this application that gives a 'paint' effect.  You like van Gogh - this will van Gogh your image.  You like the acrylic look - viola.
What I really like about this application is that it is not an overlay filter - it will reconstruct the image.  Fun to watch.
This is an image that I've used before of a section of road in PA, Rt 381 in fall.  I don't want to go overboard on this, just some difference.

I'm not in favor of the effect on definite subjects like trains, planes and automobiles.  Yet.  But for some landscapes - and some of the lighthouses, there are new possibilities.

Chasing the Polar Express - PM #1225

I missed the the steam locomotive era, where these behemoths roamed the rails.  I've seen some in museums, and yes some are large.  A large mass of metal and engineering sitting static is interesting - but moving would be great.  If there were an item on the bucket list which was to see a steam locomotive in motion, I can cross it off as of today.
The Pierre Marquette #1225 was built in 1942.  It is a standard gauge 2-8-4 Berkshire, weighing in at a svelte 442,500 pounds.  It is just under 102 feet long.
This particular locomotive was used by the Pierre Marquette Railway from late 1942 until it was retired in 1951.  For most of #1225's service life, it was used to move steel and wartime freight between Indiana steel mills and production sites in Michigan.  In 1957, the locomotive was donated to Michigan State University for engineering students to study.
While sitting as a static display at MSU, the future author of the Polar Express book who was attending MSU games as a child noticed the locomotive, and it became the inspiration for the engine in the story.  And in one of those little quirks of history, #1225 was the real number, no literary license for creativity was needed.
Over the years, a group of MSU students formed a club - and worked to restore the engine.  In 1975, fires were lit, steam was generated and the whistle blew.
In 1985, the engine moved from Lansing to Owasso, where it became the property of the Michigan State Trust for Railway Preservation, which is now going under the name of Stream Railroading Institute.
After passing a number of inspections, the engine is now used to haul passengers for pleasure in the mid-Michigan area.
Whew.
This year it ran a short run during the weekends called the Northern Express.  That run ends this weekend.  Then next weekend, it will run the Santa Express.  In talking with the yard volunteers, the difference is the Santa Express will have only vintage cars behind the locomotive.
I will be around there somewhere.
It is tough to get over how big these are.  For reference:

For further reference, that dude in the green is bigger than me.
Today was a field trip of sorts.  I was accompanied by two fellow members of the photo club I belong to.  Our goal was to get photos of the train - in motion.  We had a map of the route, and with some hustle we could get one of not more different locations during its trip.
I have photos from four locations that include the start and end with two in between.  I can not confirm or deny that the GPS voice was reminding me on multiple occasions what the posted speed was.
Our first stop was the village(?) of Carland.  This was probably the most interesting stop as there is an old grain storage building there, and if necessary would be a good back drop.  And as always, I'm not the first to ever have an original idea.  We had company.

I would see these same folks at multiple stops.  Some were a photo club from London, Ontario.  I could have made a few bucks selling coffee.  Strong coffee.
And as you can see, in Michigan the weather person calls this condition, sunny skies.
So, coming through Carland, Michigan - the PM #1225.

ISO 1000, f/6.3, 1/1000 sec, 120 mm
NIKON D500 Ver.1.15/18.0-200.0 mm f/3.5-5.6

Absolutely spectacular visual today.  I started out with I missed the steam locomotive era.  Which is true, wasn't around then.  But now there is a double meaning as I missed seeing these creations.

Big Bay Lighthouse in the Moonlight

In February of 2010, I took a trip up North.  Northwest of Marquette is the Big Bay Lighthouse.  When I got there, it was cold and windy.  February, northern Michigan and it's cold?  Who would guess?
But a day seeing a new lighthouse and not at work is a good day, right?
I was there in the early afternoon, but lots of cloud cover.  The wind was was working the water really well.  There is a lot of character in this shot.
I used this image one year for a Christmas card.
I needed a creative entry for the Club meeting.  Since this month's subject is winter, I've tried to keep the images cold.  I thought of this one, it has the potential to look, well cold.   But to be creative, I needed to add something.  Maybe add the Loch Ness monster added in the water would do it?  Creative, not fanciful.  

ISO 100, f/14, 1/100 sec, 18 mm

NIKON D80/18.0-105.0 mm f/3.5-5.6

I'm struggling a bit with the final light level.  It looks different in the PS viewer vs what is on the web.  I've had to lighten it a few times.  But this is where it is.  The creative part is adding the moon rays.  Interesting process.  Next step will be adding sun rays to an image, but this just wasn't the one.  There's always next month.

Cold Passage in B&W

For the club meeting this week, this month's subject is winter.  I already had two entries ready, one of the Tahquamenon Falls with a lot of ice and one of St. Joseph North Pier Light with a fair amount of snow and ice.  I was looking for a couple of winter shots that could be converted to for the monochrome category.   I found an interesting angle for the often photographed St. Joe's light.  Lots of good ice on the rail, and a different side of the walk way that I usually don't show.  The B&W angle is very interesting.

ISO 400, f/16, 1/200 sec, 31 mm

NIKON D90/18.0-200.0 mm f/3.5-5.6

Looking for the second entry in the category, I found some shots of a laker taken from the Mackinac side of the straights.  This was taken on a short trip up north in January 2015.  It looks cold.  Both shots look cold.
When I saw this image, I knew where I wanted to go.  Make it look historic.  I wanted to keep it mostly B&W, and not add any off coloring like I've used in the past.  I think this image can carry the load without any distractions.

ISO 400, f/9, 1/1600, 200 mm

NIKON D90/18.0-200.0 mm f/3.5-5.6

That just screams Great Lakes in the winter!
Actually both shots do.

Crisp Point - 2009 (Again)

Back in the day, the Crisp Point Lighthouse was not easy to get to.  The road signs were mostly hand written.  I found it using some obscure directions found in a local lighthouse book.  The dirt roads at the time were not maintained in the winter.  And were not repaired in the summer.  But once you got there, it was Michigan beautiful.
I've been there a couple of times in the past few years, on an ATV.  The area is somewhat commercialized.  There is a new(er) souvenir building with modern rest rooms.  There are walkways around the area to aid in the reduction of erosion.  The improvements have been done very nicely, and to keep with the theme, very understated.
Back to 2009.  I was in the D80 phase of life.  Beginner.  Still feeling my way around.  How I have the RAW file for this still baffles me.  Back then, I knew what a RAW file was, but I really didn't know what a RAW file was - if you know what I mean.  If I remember correctly, I was bouncing back and forth between RAW and JPG or some combination.  I still have the D80.
From the XMP file, it looks like I was using a kit lens as well - no VR.  Was I ever that young?
In my folder for this image, I have many iterations.  I published this once before, in 2011 here.  Most of the images are heavily saturated.  The grunge period.  Other forms of Photomatix, when Photomatix was younger as well.
There are some photos that just stand the test of time.  There are few that I tend to return to over the years, to see if my tastes or software can make a noticeable change.  Two of these photos are the Rt 381 and Southwestern PA barn.  
This grunge image, looking at the XMP file was created in April of 2010.

Well, that will hurt your eyes.  Ha.  Looks like I had figured out how to get a signature block in the image as well.  Yep, that's mine.
So here is a current revisit.  Current software.  Current tastes.

ISO 400, f/10, 1/400 Sec, 18 mm

NIKON D80/18.0-135.0 mm f/3.5-5.6

P51 Unlimited (Goldfinger) with.......

On the final day of the Air Races, prior to the championship Unlimited class race, there is a 'presentation' of the airplanes/racers.  All the crew get their photographs taken with the pilots and aircraft.  It is a production.

This is the crew of the #2 Goldfinger, a P51D out of Carson City, NV.
The P51s in the unlimited class are heavily modified.  Just sayn'.  Notice the colored tips on the end of the prop blades, you'll see them again.
While all these aircraft were just sitting there, engines started and set to idle maybe between 800 and 1000 RPM, if I can't get some form of prop blur here, it will never happen.  And although this was late in the day, the sun was left quarter and behind me.  Very few clouds.  Again, can't ask for better photographic conditions.
Fortunately this was the last race of the last day and I was pretty confident in my setup.
The Goldfinger is pretty much chromed out.  As a result, the blue sky reflections seem to be all over the airplane.  I was tempted to do a B&W version, and still may, but the overall colors are too good to mess with.  (Although on a really cold, crappy weekend, what about a B&W with the prop features in color?  That would get lifted for sure.)  
Anyway, after the crew photos and engine start I started taking photos at shutter priority, set at 1/80 second.  That put me at f/29.  That's rarefied air for me.  I get the best performance from my lenses f/5 to f/8 area.  I can go to f/11, but after that I start looking for other options.  And again, next year will be ND filters for me.  Damn those western sunny skies.
Anyway, back to the prop blur.  If I can't get it at 1/80 - again never will.  So here we are, sun shining on yellow tipped props and a stationary subject.

ISO 100, f/29, 1/80 Sec, 202 mm (Shutter Priority)

NIKON D7200 Ver.1.04/Nikon AF-P NIKKOR 70-300mm f/4.5-5.6E ED VR

This final image is heavily cropped.  I struggle with getting too tight on zoom and then wanting something more in the final edit - or like this have way too much uninteresting 'stuff' that has to get cropped out.  Guessed wrong here, but it passed the monitor test.
No editing the blur on this one.  Not necessary.  In flight however, 1/80th won't do.  But then again, the RPM will be closer to 3k.  That's doable, but I won't settle for f/29.  I'll never get a really good shot with that opening, or I should say I can always get a better, sharper shot.
Next year, next year, next year......  But for this shot - awesome!

The Christmas Cards are done,,,,,

The 2018 Christmas Card production phase is done.  The cards are now in the hands of the house public relations department.
The project was in trouble of a timely completion when the R1900 printer quit working last weekend.  Thanks to on-line shopping and cyber something sales, the replacement XP-15000 showed up mid week, was installed and card project is back on track.
I don't know how the caveman ever progressed out of his/her/its cave?  And I'm not sure how small stores will ever survive.
As when I bought the R1900, no one carries photographic printers locally.  Lots of big box stores were happy enough to order it for me.  Every option was two-three days away.  And if you're going to order it for me, why would I opt to have to drive to your store to pick it up?  As much as I don't like what Amazon is doing to small market America, I still use them.
First impression is the printer is really good.  It is not top of the line.  My printing needs don't require a $1K product.  If I need that sort of a one time result, I'll take it to a professional printing lab.  Being as it is not top of the line, when functioning it sounds plastic-y.  That's a technical term, right?  Anyway, the R1900 sounded solid, this new on not so much.  The other con is that the XP doesn't like stock paper through the rear feed.  Of the 35 cards I printed, I had to 'help' at least 30 initiate.  I've printed a few 4x6 images on regular photo paper through the rear feed without issue.  If stock paper feed is the only issue, I'm good.  
The image on the presentation paper is really good.  No runs, no drips, no errors.  Lots of technology improvements in the last eight years.  
I was happy with the ink consumption, or the lack of.  For the 35 cards and initial print head charge, it looks like just over 25% used.
The 4x6 test prints are good.  So far, I just printed at a standard level.  I'll probably rip off a larger print tomorrow with a higher quality setting.
The initial set up was easy.  One major difference for the ink cartridges was to not shake them up.  For the R1900, there was a written suggestion to shake the cartridge prior to install.  Not the case for the XP.  Sort of glad I looked at the instructions.  Apparently could have been very messy.
I did have an odd issue this morning when starting the card's project.  I would try to print from PS, and the program would end abruptly.  This wasn't in the plans.  This abend happened to any print I tried.  I removed all the Epson software for the R1900 and XP, and re-installed the new XP software, again.  It worked.
Looking forward to a long healthy relationship with this printer.

Where do I fit?

I'm playing with Adobe's Portfolio app.  It comes with the Creative Cloud subscription I have, so nothing to lose but time.  In watching a few YouTube Videos, it became clear I need a logo.  OK.  Engage right brain.
So, where do I fit in the labeling of photographers?  What would be my brand?
Novice, Beginner, Rookie, Newbie:  Nope.  Whether or not you like my photographic expression, what I know about photography rises above this level.  Club members, friends and family ask me for advice on photographic topics.  I've been involved with this at different interest levels for over 10 years.  I've been a member of an artist's co-op, displaying/selling some of my work.  In short, I know which piece of glass points away from my eye and toward the subject.
Professional:  Nope.  But that comes from an asterisk as I have received monies for some work.  Not close to making money on this at all, ask the family accountant.  
That leaves the middle categories: Hobbyist, Enthusiast, Prosumer.  Really?  Aren't all the same?  Kinda.  Maybe?  It is a hobby, see the professional definition anti-rant.  Not making any money, but spending a lot.  Check,  I enjoy it.  I can talk about this with almost anyone, enthusiastically.  Check.  But prosumer?  And it is a legitimate term, Google it.  Professional Consumer.  I am a consumer that uses equipment with professional level quality and features for non-professional level activity.  Enthusiastically.  For a hobby.
So I'm in the middle there somewhere.  And at this time, that's where I want to be.  I have fun.  There is no pressure or deadlines.  It's all good.  And fortunately, I can display all the good shots on a PC.  Takes the print game right out of it.  I enjoy it.
If there is pressure, it is to not post/say something really bad or stupid.  When I look back at some of the early pictures in this blog, I sometimes cry (with laughter).  I'll never remove any of them because they are part of the journey.  But in the end, that really isn't pressure.
On a somewhat related topic, cruising through some related material I found an article that asks what are the (four) questions photographic amateurs fear the most.  In no specific order:
1. Why don't you start making money from photography?  Thankfully that has never been asked of me in the sense of I need to pay for all the toys with the hobby.  But in a way it has been asked of me in a good sense, like my stuff could sell.  And I did for a while at the artist's co-op.  That was fun, but I wasn't ready for the continual need to produce merchandise to sell.  I have enough issues with the paying job.  But if things change, I'd consider returning to the co-op or exploring another venue.
2. Why don't you photograph weddings?  When talking with people I don't know, I state that up front.  The remark is usually with humor but in a way to mark my territory.  And if I have talked with you before, you already know this.  As a rule, I don't do people.  I've done two portraits in ten years.  Both turned out well, and are on limited display.  Both were for close family.  I say they turned out well, but when compared to a 'professional' there is a difference.  My feelings are not hurt.
3. What do you get from it?  If not money, seriously what do you get?  Well, I can't draw or paint.  I can't sing or play the piano.  Well, I get an expression release.  For the most part, my work is not traditional smooth print displays.  I like heavily contrasted, bordering on saturation overload images.  Subject to change with subject.  I can go on a photo 'high' for days when I get a photo of a jet demonstration team where the window of opportunity was only a fraction of a second for the perfect shot, or the work involved to get the 'perfect' focus on the model train set using focus stacking where you can read the train numbers or expand the train colors or with getting the close ups of the juvenile bald eagles.  It's physics with the bending of light.  It's technology with the electronics and software.  And it's the people you meet and the places you go.  Silly rabbit, dumb question.
4.  You have a camera, you can take pictures of my.....  Follow me here.  NO I CAN'T.  Sorry.  You have a phone, take your own photos.  See the part about Professional, I don't make money on this.  There are exceptions of course, but if you ask me get ready for that answer.  I have been asked by friends and family to photograph events and for the most part I've politely declined.  I'll chip in for the cost of a professional with no issues.  I've also gladly accepted requests when there were reasons other than I had a camera.
Those were the questions from the article.  I'm trying to think of other questions I've been asked.  Those four questions pretty much cover it for me.
Today's thoughts......

B25 In the Turn

This is the B25 flying around the Reno area as part of the Air Races.  I had posted an earlier photo going across the start/finish line.  It is a beautiful plane, wonderfully restored.  And sounds great!
I have what I think is a good photo of the aircraft in a turn, with the Peterson mountain range in the background.  The airplane  was way out there.  I shot it with the 1.3x image size.  And it still turned out OK.

ISO 400, f/8, 1/1600 sec, 600 mm

NIKON D7200 Ver.1.04/70.0-300.0 mm f/4.5-5.6

This speaks to me.  I can see this in WWII  flying over a Pacific Island.
The photo does have a problem.  At 1/1600 sec shutter speed, the props are  frozen.  I've seen enough posts where images are shown and that is the first observation.  In my case, I don't worry about it too much.  My first time doing this.  And the other 99% is pretty good.  Has to count for something, right?  But I would like to make it somewhat presentable.  This aircraft may not be there next year.  So, how to blur the prop?
Clearly I'd like to have a 360 degree light blur with the tips painted and the sun shining off the upper quadrant, but that's not going to happen today.  Today, I'll work on just not having a frozen prop that you can read the writing on.
In searching for options, there are many available.  Many seemed to take a long time and lost me.  I need a certain amount of ease, and logic.
Here's what I came up with.  I am going to use PS's Spin Blur filter in the Blur Gallery.  it took about 5 mints to see how to use it, but once I got that going it was off to the races.
To do this, I would create a layer where I'd spin blur the two engines.  On top of that layer, I place a background layer - and then mask out the pros as necessary.  
Here's the layer stack.

A bit tough to tell, but on the Background Copy, the dark marks are the area where the prop blur will show up.
This is how I lined up the spin blur on the props.

Just a small hint, make the blur layer a smart layer to you can return and adjust as necessary.  That's a few minutes of my life I won't get back.  I lined up the center of the blur in the prop hub and then stretched the blur area to the tips of the props.  As shown, this is not acceptable because now I've introduced blur where there shouldn't be any blur.  However, with the mask applied, I can target the blur to the props only.

Not 'in my dreams' perfect, but there is a hint of motion.  From here, I can workflow the image.

The original goal was prop blur.  I don't know how much is necessary.  What I do see is a frozen prop will trash the image.  For power setting, in flight, seem under 1/1000 will do.  For idle or taxing, it need to be under 1/80.  That what I'll start with next year.  (Unless I forget all this which is possible.)  I've got more prop driven shot that I can play with - and a winter coming up.

CSX Out of the Tunnel

This morning I was looking to play with On One's photo stacking process.  I started by watching a few videos.  Looked easy.  Fortunately disk space is cheap and I have plenty if files to try with.
I loaded up my first 21 images and, pppfffttt.  Nothing.  Wait, huh?   Well, this wasn't right.  After about ten minutes of trying to figure out what the problem was, it appears that there is a limit to how many files can be loaded.  And the limit was south of my 25 files.  Looks like the limit is 14 files for On One.  Well, that won't do.   At least half of my work at the DMRRC is over that number.  I have a submitted a question to On One support to confirm my observation.
I also looked at On One's HDR process.  I haven't tried it yet, but looks like work.  Looks like it is very workable to a finished product - but again unless you are doing it a lot, work.  Eats into the five minute limit.  But I'll give it a try at some point.  Going to be a long winter.
Back to the train.  This stack turned out really well.  (Actually all turned out well this year.)  What really catches my eye here is the detail on the front of the engine.  The engine number, 953, is very clear.  That was a problem in a lot of my earlier efforts.  If the numbers are not clear, the rest doesn't really matter.  Continuing on, the chain just under the CSX front center is a great detail item.

ISO 100, f/6.3, 0.6 sec, 75 mm

NIKON D7200 Ver.1.04/50.0 mm f/1.8

Focus Stack - 21 Images (Helicon Focus)

The issue I always have is the scenery is an equal player to the trains.  Tough to crop it just to focus on the train and leave out the great work done by the DMRRC.

Williamsburg Kitchen

As I was cruising through old pictures of a trip to Williamsburg. VA, I saw this one.  This is part of a HDR set, that really doesn't need to be.  Aside from the darkness in the fireplace the light levels are fairly even.  When I merged the three shots together, for some reason Photomatix didn't play well with the greens stuff up front.  The green stuff was fuzzy.  Photomatix is usually very good lining up images.  No problem, it did well enough with just one image.
When I saw this image, it was destined to be right brain.  All the angles are off.  Just begging for something different.

This started as a shot with a one image edit from Photomatix, Painterly.  From there I put it through a couple of filters on On One.  (That was mostly to test the new install of On One.)  Then I hit the filters library in PS.
I was trying to get more of a painting look, but close enough.
What is an aluminum colander doing on that table?

Black Friday (Extended) and other Thoughts

I had big plans for the weekend.  Rainy and low 40's.  Most, it was to get the Christmas cards printed.  I was also going to upgrade my copy of On One with the Black Friday sales event.
My luck with upgrading On One is never pain free.  Not sure what the issue is, but there are always license issues and multiple restarts and plugin stumbles.  This year, I remembered to log out of the program before the upgrade and I'm sure that helps.  This year the install was pain free, but to get it going was not.  usually when I install a new program, I re-start the system.  After the install the system would not end.  After ten minutes, I manually shut down the system.  then the re-start took at least ten minutes if not longer - but then appeared.  Then I manually tried to start the program.  It hung.  After ten minutes, manual end.  Shutdown.  (This time shutdown was normal.)  Start up.  (This time start up was normal.)  And then start the program, and this time it started normally.  Not my first time.  The laptop process was not as painful, except the laptop is just plan slow so all things considered, both took about the same time up update.
As to printing the Christmas cards, well that didn't go quiet as planned.  I don't use the Epson R1900 much all year.  It might get used semi-annually.  The Christmas card print usually is a process of cleaning the print head, which eats up a lot of ink and some paper.  Price of dormancy.  This year was different.  A few weeks ago, I fired it up and printed a few images of the air races, nature photos and some Pittsburgh photos.  No image cleaning needed.  Prints were awesome.
To start this morning, printed two test card and then.........  Nothing.  It makes noise, but that about all.  It won't pull the card stock.  It will pull plain paper, but not print.  There is an error message that says the paper is mis-aligned.  So, back when I played with printing on canvas, I found out that there are sensors where if the paper is not aligned - perfectly - the process stops.  I hit it with some compressed air to try to clean it up, but no luck.
So the new printer arrives next Friday.  Staying with Epson.  What did we ever do before the net?  Read a few pages with reviews, watched a few user reviews.
The R1900 was a good printer.  I picked it up in December 2010.  That a lot of Christmas cards, photos for the Art Gallery, some abnormal canvas prints and normal canvas prints.  Absolutely no complaints.  And that is a big reason I stayed with Epson.
That's a lot of new photographic equipment this year.  What's left for next year?

Missing Man Formation 2017

Most military air shows as part of an aerial demonstration will at some point perform a maneuver called the Missing Man formation.  The Missing Man formation is a salute to fallen airman or other deceased.    The Patriot Jet Team, although a civilian team piloted by ex-military fliers, performed their version of the maneuver to honor fallen airmen of current and past engagements.
The maneuver is recognized by a number of aircraft, usually four, flying straight and level,  At some point one aircraft will leave the formation, climbing toward the heavens.  This aircraft represents the fallen.  In the case of the Patriot Jet Team, there are six aircraft in the air flying the formation.
One of the issues I've noticed with shooting the Jet Team is the color of the aircraft can be challenging in sunlight against a blue sky,  For most most of the four days I was at the Races, the sky was deep blue and cloudless, especially in the morning.  On the other hand, with cloud reflection on the aircraft paint it seems to me it really contrasts, not in a good way, against the sky.  The result is that the aircraft look, well, Photoshoped.
In this shot, I tried to 'warm' the image.  I may have overshot it a bit, but I think I;m on the right track.  Some of the shots are just too true blue.  

ISO 400, f/8, 1/3200 sec, 227 mm

I have another shot like this from another day at the races.  There is nothing but blue sky and blue aircraft.  No clouds or mountains for reference.  I went with this one because of the clouds and mountain.  I'll get used to the way the jet paint looks with the cloud reflection.