I have taken some time recently to delve into my family’s history from an ancestry perspective. Using Ancestry.com and all the domestic records they’ve digitized, I’ve been able to match family memory with public records, like the Census, filling in some holes in my knowledge and getting to know some of the relatives I never had a chance to meet. Also, I’ve found a few existing family trees within the service with which I have a relative in common.

While visiting family in California for Thanksgiving this year, I was able to skim through many old documents my grandmother was able to save before she passed away, including birth certificates, a ketubah written in Aramaic, army records, and high school diplomas.

The biggest clue to family history on my father’s side, tracing family back to the time before they arrived in the United States, might have been a scanned family tree diagram sent through email about ten years ago. Unfortunately, no one I’ve talked to seems to have this email or attachment saved.

My next step would probably be to talk to many of the relatives included on the family tree to hear stories of relatives and further complete this project. I haven’t been a particularly good family member in the past, and I’m not in touch with much of my family. I’d be a bit nervous approaching anyone.

If you’re family and you’re interested in seeing what I’ve gathered so far, let me know.

I decided to bring my Mamiya RZ67 Professional II camera to the event. While most spectators had digital cameras, my older medium format film camera seemed more appropriate. This camera — or any camera — is just as anachronistic as a digital camera, but it was fun to focus on a more manual process in this environment.

This manual process made the day fraught with frustrations for me. I would require a tripod to get the best shots, but carrying my tripod in addition to the camera from one spot to another was a pain. With so many spectators, I wouldn’t be able to get a good shot of the demonstrations without setting up in front of people who were there with their families to enjoy the day’s festivities. As a result, I ended up facing the backs of the subjects.

After giving up on the tripod, I tried holding the camera steady, which proved to be difficult with the cannon demonstration. The best timing would be right as the cannon fired, but each time, the noise startled me. I jumped, and had a difficult time holding the camera steady for the right moment. A small digital camera would have come in handy.

The film was developed by Taylor Photo in Princeton, New Jersey, and scanned at home with an Epson Perfection V700. Continue reading to see a few of the photographs, or see more by visiting this set on Flickr.

Plastic “toy” cameras, like the Holga and Diana, incorporate unpredictability into the art of photography. In general, photographers seek to control everything about their images, particularly lighting and composition. Much of this is left to chance when using toy cameras. Their imprecise construction allowed light to leak onto the film, adding streaks of color or light at locations. Focusing is imprecise, and vignetting is a virtue to be appreciated, not avoided.

Modern apps like those available for the Android operating system and the iPhone allow precise customization over these random imperfections, but that takes the fun out this particular type of art. Even when choosing a “random” setting in these applications, you are left with the knowledge that the image is a lie. The phone, despite not being the best digital camera available, is capable of better photographs. Real plastic Holgas and Dianas produce these images as a result of the only type of image processing they are capable of — the photograph you take is their best work. They are low-fidelity, not just “slumming it.”

The problem today is that despite the fact that these toy cameras can be found for just about $20, it’s still less expensive in the long run to fake the look with your phone, a decide you might have anyway. The costs of buying and developing film add up quickly. The cameras once designed as an affordable option for kids is now out of reach for many photographers. One can’t forget that with digital photography, photographers have the luxury of instant review and retake.

With the added complication of processing film, I’ve only been slowly working with my Holga so far. Amy shot the first roll (black and white) with the Diana today; it will be a few days before I see the resulting negatives. Here is a selection from the Holga. More are available in the Toy Camera set on Flickr. I should point out that the pattern of white dots seems to be a result of the developing process. I’ll speak to the lab about this when I go to pick up the next rolls of film they’re currently developing. Keep reading for some of my recent photographs using the Holga.

Most people think New Jersey is flat. Much of New Jersey is, but the state does have its share of hills and mountains, and Sourland Mountain is a great example. As I climbed higher, I could see the houses of Hillsborough in the distance.

I brought my Canon 1D Mark III with me. On hand was a Canon 70-200mm f/4L and the original 2x extender I borrowed from a friend. In addition to this combination, I shot with the Sigma 24-70mm f/2.8 and briefly with the Canon 50mm f/1.4. The preserve is a great location, and I’d like to come back for portraiture.

The full gallery is on Flickr, and I’ve included a few more photographs after the jump.

This little guy in the pond has the vocal cords of an opera singer. He croaked emphatically and repeatedly, and the sound carried beyond the opposite side of the pond.

From the mountain, I was able to see Hillsborough in the distance. Using the long end of the 70-200mm zoom lens with the 2x extender and the 1.3x crop factor of the 1D Mark III, the field of view here is equal to 520mm on a 35mm camera.

See more on Flickr.

Thinking the event would be only slightly more popular than last year’s, I planned to line up in front of the theater hosting the event in the early afternoon. After checking updates on Facebook in the morning, I realized that I needed to get into Manhattan early or else miss my chance to get in. I also planned to hold a spot for M-D as well, which was unfortunately a fruitless effort. I arrived in line around 9:30 am, and I was already number 450 in line for an event that supposedly had a capacity for 500. Many people in line in front of me camped out the night before; others were waiting since midnight. Despite being a fan of Doctor Who in some form since at least 1981, I was clearly not the biggest fan there. I wasn’t even dressed in costume like about 50% of the other enthusiasts.

I’m quite fine with that. The relationship between “fan” and “object of fan’s affection” is weird. I don’t like relating to people at significantly disparate levels. It’s awkward and strange. People seem to be fanatic about science fiction actors — more so than athletes. Fanaticism is so strong that these individuals say ridiculous things and ask pointless questions at Q&A sessions. To British and Scottish individuals in the television industry, these vocal representatives of my country can be embarrassing.

In a perfect world, I would be able to relate to individuals I admire on a professional level. I’m not in the television industry, however, so that is unlikely. Unless you’re a teenage girl, it’s just not OK to gush over popular individuals.

The first two episodes of the new Doctor Who series are not without their flaws, but they will be a fantastic way to start off what will be an exciting series with interesting stories, wrenching drama, and new monsters. In the theater during the screening, there was almost as many, “Huh?!” reactions as enthusiastic cheers. Afterwards, writer Steven Moffat begged us not to reveal too much about the show (spoilers!), so I’ll just say that I’m not quite sure how viewers will be able to stand waiting one week between episodes one and two.

After the break is one of the many trailers for the new series.

www.youtube.com/watch?v=Dhe_ywL1BkQ

By the way — a main character dies in the first few minutes and the rest of the TARDIS crew will spend the rest of the series dealing with this. The second episode ends in a quantum conundrum rivaling Schrödinger’s cat, but more cyophoric. Silence will fall. I’m going to have to watch The Lodger again.

Photo: BBC

I started the session with the Polaroid back to test the exposure before switching to the 120 medium format film. I also got a few shots in using the Canon 1D Mark III. (It’s wonderful that I was able to find all of this equipment used. The only piece of equipment I purchased new was the Sigma 24-70mm lens I mentioned earlier.) Out of everything, the Polaroid “test shots” turned out the best, despite losing one exposure when I removed the back before replacing the dark slide. With the Polaroid back on, I also tried shooting with the f-stop halfway between f/22 and f/32, and that didn’t work so well. It resulted in the shutter not opening much at all, which you can see in the most underexposed shot in the group.

It’s interesting how, despite using the same settings, the Kodak Ektar film responded completely differently to the light on the seamless backdrop.

The next class starts in May, but I think I’ll be taking a break from classes until at least the fall. I need to spend more time shooting.

Here is the full set on Flickr, and if you continue reading this article, you’ll see a gallery of just the Polaroids and one 6×7.

In the interview, Bob and Craig agree that we are experiencing a formative period in history, one that will be viewed by historians centuries in the future. Thanks to social unrest throughout the world, money flowing into emerging markets, and dominant global power shifting away from the United States, society may be at a tipping point. I don’t think anyone can properly identify what history will choose to focus on until well after the fact, but assuming it’s true, where is today’s counterculture? Specifically, where is the music that can be identified as representative of today’s social change? Why does no one have anything to say about this?

Commercialism is quick to latch onto anything new these days, and that may be why none of today’s music seems revolutionary. A counterculture is commercialized so quickly — take hip-hop, for example — that it doesn’t have time to stand for something and no longer means anything. With artists concerned about making a living in this country, there isn’t a lot of opportunity to do something untested. Maybe we need to start looking elsewhere to find the next social movement to become representative of a generation, perhaps the Middle East, north Africa, or China.

Bob mentions how terrible the popular music was at that time, and there had to be a change. Today’s pop music should generate the same sort of reaction, but where are today’s music rebels? Watch the interview with Bob Geldof after the break.

www.youtube.com/watch?v=vWPScxwM-cc

Update: Nam wrote in with interesting comments on Google Buzz.

We scheduled the photo shoot in Wilmington’s Grand Opera House, a great venue for dramatic images featuring an opera singer. The Sarah Bernhardt room, where we set up and shot almost all of the photographs, was a perfect location. Cathy came fully prepared with a team to help with her hair and make-up, as well as a representative from the department store Boscov’s to help with the various outfits provided by the store.

This was my first attempt bringing my portable equipment on location. I traveled with a Canon 1D Mark III, with an XTi for emergency back-up, and two Bowens Gemini monolights with umbrellas. For lenses, I brought a Canon EF 50mm f/1.4 USM, Canon EF 100mm f/2.8L IS USM Macro, and Sigma 24-70mm f/2.8 IF EX DG HSM AF, but used the 24-70mm almost exclusively. I also had a variety of accessories to help with the shoot, like PocketWizards for triggering the strobes and a white/silver reflector.

I learned quite a bit from the seven hours I spent at the Grand Opera House. Here are a few of my take-aways.

• The details are important. Some problems, like a fire alarm on the wall, can’t always be cropped out of the frame. I need to keep my eyes open. Even a piece of tape to hold fabric on a couch can ruin a shot.
• I need to watch angles and proportions when using wider angles. On camera, it could look like an interesting perspective, but once I can really look at the image, I might be distracted by feet or hands in the corner of the frame.
• It’s important for the model to feel at ease. I probably could have done more to help Cathy feel comfortable and relax.

Post-processing is an important part of modern photography. Film purists often don’t like PhotoShop because they believe the skill of a photographer is in getting the best picture in camera. It’s always good to strive for getting the best capture, but even the best film photographers worked creatively with chemicals and dodged and burned the exposure when printing. In PhotoShop, I take the time to reduce the appearance of shiny skin, make sure there is the level of contrast I expect, and make sure the colors most accurately reflect the colors as seen by human eyes — all things even the best digital sensor doesn’t do well.

Update! I have finished finalizing the photographs from this shoot. You can see a select set of photographs in my portfolio, and here’s a slideshow. Following the slideshow are a few photographs from the shoot prior to processing.

The following photograph shows Cathy’s preparation before the official start of the shoot.

Make-up and hair by Ana Sierra from Perry Anthony Salon & Spa Network and styling by Wanda Allison from Boscov’s.

Here is Cathy’s performance of Ave Maria, set to images taken by other photographers.

www.youtube.com/watch?v=kYT3c_wskrc

B&H Photo and Video is now richer, while some items formerly in their store now find their home in my apartment. I purchased inexpensive floodlights, a two-strobe kit (Bowens brand, 800 watt-seconds total, with umbrellas), three PocketWizards, and a backdrop set-up.

As part of assignments for the class, I spent some time experimenting with different placements of the floodlights and strobes. I’ve been using this as a chance to get used to using the equipment for the first time. I discovered that I don’t want to use the strobes at full power, particularly when the space I have available for the “studio” is about eight feet by eight feet.

I chose three photos from this first session to share. The set is on Flickr and I’m including the photos below, as well.

This first photo used a strobe located at about 7 o’clock, shot into an umbrella used as a reflector. I also used a handheld silver reflector just to camera right of Amy, the model. If I hadn’t mentioned, I’m also now using a Canon 1D Mark III, which I purchased used for a great price.

I did some post-processing on the photos, primarily to remove the typical circles under our eyes.

I used a remote to trigger the shutter for the following self portraits. The lighting included the strobe at 7 o’clock shot into an umbrella as a reflector. I didn’t put the backdrop in place before shooting these self portraits, so there’s a crease that normally wouldn’t be there.

Note: I need to shave, and I never claimed to be photogenic.

As I mentioned last time I wrote about TheGoodLife at City Streets, this cafe-slash-bar is not the best location for producing flattering photographs, particularly when colored spotlights flash unpredictably. I have found, however, that my own flash will overpower the spotlights, even when the flash is bounced off the ceiling. It’s this bounce that helped product some of the better photographs from the night.

I stayed only for the first set this time, and managed to produce about twenty images that I consider publishable. I’m including a selection here, and the rest are available in this Flickr set.

In previous shoots, with the Canon Digital Rebel XTi, I got the best images by setting the aperture to f/1.4 to allow the fastest shutter speeds at a high ISO, leaving off a flash entirely. I didn’t feel I was getting the same results with the 1D Mark III last night, so I opted to mount a flash on the camera, the Canon 430EX Speedlite Flash. In a more perfect setting, I would have positioned the flash differently, but to increase maneuverability in a crowded bar with drunk dancers dangerously close, I kept it simple by mounting the flash directly on the hot shoe. The most flattering images came from bouncing the flash off the ceiling.

Of course, I’d prefer not to use a flash at all if there were any chance it would distract the performers.

A few non-flash shots were acceptable, as well, but the 1D Mark III did not want to grab focus as easily as the XTi, making non-flash shooting slow.

Some post-processing work was required. For the non-flash shots, I adjusted the white balance and improved the color levels. For the flash shots, not much color correction was necessary, but I did a little work to remove the “shiny skin” effect. One of the most difficult aspects of photographing a singer is trying to avoid making someone appear as if they are preparing to eat the microphone. I’ll have to try to convince Reid Sound to provide the singers with wireless headset microphones.

All shots were taken with the Canon EF 50mm f/1.4 lens. Continue reading this article to see a selection of the photographs.