David Griffin Photography

Images, videos, tips and news from David Griffin Photography

Monthly Archives: May 2009

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Ospreys on the Assabet River

This rather unremarkable image of an Osprey pair at Assabet Reservoir in Westborough marks an important chapter for Osprey on the Assabet River — and a personal point of pride for myself.  We had received reports of their arrival in the beginning of April — this was expected.  What was unexpected was the news that they had set up camp on the nesting platform rather than the tree that has been the nest site for over a decade now.

We’ve known that the nest site was in peril for several years.  After about a 3 year wait due to warm weather we were finally able to get a team out on the ice in  February 2007 and erect an alternate platform (I’m the dorky looking one in the red jacket).  By “we” I mean folks at OAR and Mass Fish & Wildlife, the latter did most of the heavy lifting.  There were no guarantees that the birds would take to the platform, and while they treated it as a roosting spot the past two years there were no signs of treating it as a nest.

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One can only assume that the Osprey sensed the old tree was near failure and essentially moved the nest to this new platform (we’ve been fearing that the tree would fail while an active nest was there — a definite setting for a tragedy).

I’d like to say I purposely stayed away the past month to make sure there were no disturbances, and I’m sure that factored into my absence there the past month, but they now appear quite confident on the nest and were not alarmed at all when I came to photograph them (at a very respectful distance).   We’ll start visiting more frequently now, looking for some hatched eggs — having a successful nest this year will put a lot of smiles on the faces of the many people who helped keep this important nest site viable for years to come.

A Bad Day at Damariscotta Beats a Good Day in the Office

For certain subjects, if you want to get the best pictures of “X” you want to go to place “Y”.   If you mention these places to a non-nature photographer they will give you a blank stare.  Mention them to someone who is in this special community and you will likely get knowing glances and, more often, stories of their visits there.  That these places often have odd names makes it all that much better.

Homer.  Antelope Canyon. Bosque del Apache. Havasu.

Among nature photographers there are a number of these special locations where you can create photographs that are  simply not possible or very limited anywhere else on the planet.  Some of reasons for their specialness are geological in nature (Antelope Canyon kinda falls in this category, the blue-green waters of Havasu Canyon is another).  Some, like the Serengeti migration, are less about a specific place but being in a particular area at the right time of year.  Some are human-created (or certainly human-influenced): the congregation of American Bald Eagles in Homer Alaska was due to the action of the late Jean Keene; the large number of Sandhill Cranes and Snow Geese at Bosque del Apache is certainly intertwined with the managed farming that takes place on the refuge.

In the dark ages before the Internet, the names of these locations wasn’t really secret – but they weren’t exactly widely known.  The “in crowd” was fairly small.  Today entire photographic workshops and trips are built around these places / events.

For Osprey photography, the magic word is “Damariscotta”.   Damariscotta Mills (to be more accurate) is a small town located at the mouth of the Damariscotta River.  The river isn’t all that large, just 16 miles long, and just before it gets to its destination, the Great Salt Bay and the Atlantic Ocean, there is a hydroelectric power plant and the Bristol Dam.

Damariscotta roughly translates from the native Abenaki as “river of many fishes” and so to make sure that the river’s name still has some meaning there is a fish ladder next to the powerplant.  Each year, around mid-May, a breed of anadromous fish with an equally odd name of “Alewife” returns to the river to spawn.  (Anadromous fish are those that live in salt water but breed in fresh water.)   While this migration has been going on for tens of thousands of years, only recently did the hand of man “focus” these migrating fish into a relatively tiny 50 foot wide corridor.

Birds aren’t stupid.  They know a good thing when they see it.   And so the local Osprey population congregates at the base of this fish ladder and gorge themselves on herring.  They are not alone: gulls practically take over the fish ladder looking for easy pickings; seals will sometimes herd the fish into corners; and eagles will patrol the airspace around the area looking for an Ospry to bully (they will dive on the Osprey hoping it will drop the fish it has worked so hard to catch.) With the exception of perhaps a location in Finland, the ability to have Osprey hunting right in front of you, over and over again, is unique to this little Maine town and so photographers gather here as well.

For all its wonder of bringing the spectacle of hunting Osprey 30 feet away, it ain’t Disneyland.   Weather, water temperature, fluctations in fish population, and numerous other factors can make a trip to Damariscotta a once in a lifetime experience or a complete dud.   And, as I have proven time and time again, the situation there can change overnight. But if you have the time, and the fates are with you, it is a wonderful location to visit in May.   Even if you aren’t a photographer, it is worth a visit and many school groups come through during the weekdays to see both the migrating fish and the Ospreys.

I’ve had, um, “limited” luck at Damariscotta.  Through a odd confluence of fate those herring tend to migrate during some the busiest weeks of the year for us.  And when I’ve been able to extricate myself for a day, I’m pretty likely to pick the day where not much is going on.   One of these years we may just punt and stay for a few days, increasing our odds of success.

We had heard through Twitter that the alewife were running and when a day opened up in our work schedules Betsy and I jumped at the opportunity.  We got up at 3am, left at 3:30, drove 3 hours to arrive at the dam with nice morning light.   We met John Briggs (@MaineBirder  on Twitter) there.  John is fortunate to live just a few miles away and he was kind enough to let folks know when the fish were running.   John has some excellent shots from Damariscotta and wrote an article on it in his blog.  We also met and had a nice chat with Scott Linstead of Scotty Photography.  Scott drove twice as far as we did (from Montreal) to photograph the Osprey.

I’ve had plenty of occasions to visit when the weather was bad and even one time where apparently my traveling there was a signal to the fish to stop migrating (I’m told it was a water temperature issue, but I know the REAL reason….. #$&^* fish.)   We had clear skies, warm temperatures, the fish were coming up the river in herds, there were sometimes six Osprey circling above… and, for whatever reason, that’s where they stayed.   Maybe they gorged themselves the day before and weren’t hungry.  Maybe riding on the thermals was just waaay too much fun.  Whatever it was we only had a handful of dives — and half of those were well after the light had shifted towards “rather harsh”.   (Scott was staying for another day and we hope he had better shooting on Friday.)

I had big plans for the day – but knew that I’d have to be rather lucky to get any of them accomplished.   I wanted to use the opportunity of numerous dives to video the event with the Canon 5D Mark II and to see what equipment variations (lenses and tripod heads) would do to the final product.   Getting photographs of a dive is hard — getting good video is exceptionally hard and I knew it would take many repetitions to develop the “muscle memory” needed to properly document this extremely dynamic event.   I had hoped that I’d have 30 events to practice with, but I was only able to film 3 dives.  Here are two of them (with all of the rough edges fully intact):

[flv w=800 h=450]/video/20095-osprey-damariscotta.flv[/flv]

I think that despite the bad luck I had this day with the birds, there is definitely promise for producing some great footage of Osprey dives using the Canon 5D Mark II.

In the end, as the title says, a bad day at Damariscotta beats a good day at the office anytime.    It is a great privilege to witness one of the wonders of the natural world take place just a few feet in front of me: an Osprey hunting.   Even if I didn’t come away with a single photograph for the day, just seeing these birds do what they do would be more than enough — and will keep me returning here for years to come.

WAVM Banquet Weekend

It has been a busy long weekend of community shooting (this is clever way of saying that no money is exchanging hands, these are “in kind” donations of time to organizations I enjoy working with).  You can visit community.dmg-photography.com to see the results of this weekend’s activities (as of this writing two of the three galleries are up — the other is importing into Lightroom as I type this and will be done tomorrow — after I get some sleep).

I’ve been associated with WAVM for well over 15 years now and enjoy photographing their events.  This weekend is their end-of-year blitz of activities and awards, and I tag along where I can to document it.   Friday night we were at a place called “LazerZone” in Marlborough, MA.  This is one of those indoor recreation places that caters to birthday parties and corporate events.  The centerpiece is a “laser tag” game where two teams battle it out with laser guns.  Lots of fun and perhaps I’ll write about the Canon 5D Mark II’s performance in a completely dark environment.

Besides the laser game there are plenty of arcade games and I couldn’t help but find some abstract images while walking around.

If you are in need of a “quick fix” for unusual lighting and bright colors, heading over to your local arcade might cure what ails you.



Giant Kings Videos

I’ve uploaded two videos of the Giant Kings performance at Stone Mountain Arts Center to YouTube.

1) A “highlights” reel from the 9-May show:  http://www.youtube.com/watch?v=yCJxQepJhMs

This video starts off a bit shaky (OK, very shaky) because I hadn’t set up my camera supports and the “trombone” bit was too good to pass up even if it induces seasickness when watching (I plastered a few stills in there to make it less annoying..)

[youtube]http://www.youtube.com/watch?v=yCJxQepJhMs[/youtube]
2) I have also uploaded the “I Found a Love” video to YouTube (with Mark’s Earley’s name spelled properly in the credits (sorry Mark!)  and with better color correction):  http://www.youtube.com/watch?v=LqWR_Drh3EQ

[youtube]http://www.youtube.com/watch?v=LqWR_Drh3EQ[/youtube]

Both are available in YouTube’s new HD format, which, I have to say, isn’t all that bad at all.   If you have a fast connection it is definitely worth pushing that little HD button because the default format YouTube uses is pretty awful.

Technical drivel:

All shots are with the Canon 5D Mark II. The highlights reel inadvertently shows how lens selection and support makes all the difference in the world.  The initial shot (Chris Cote’s “trombone”) is the 24-70mm f/2.8 L lens shot completely handheld.  This lens has no image stabilization and while I’m actually pretty good at holding a camera steady for a still shot, eventually the muscles have to move.   As the highlight reel continues you will see the 24-70 being used on a monopod.   This takes some of the harsh erratic movements out, but it still looks pretty unclassy at times.  After the intermission I changed my seating and switched lenses with my 1D, so now the 5D had the 70-200mm f/2.8 L IS lens on it.  This is a stabilized lens that works pretty darn well on the monopod.  Zooming and panning from the monopod are still something I need to practice more, but overall the results are much more watchable (at the expense of not being able to zoom out to the entire stage).

All footage is converted to Apple ProRes 422 for editing.  I had dropped in some stills into the highlights reel (as a band-aid over the jerky footage) and used them as a basis for color correction of the video.  The edited footage was compressed to H.264, 5Mbps, and uploaded to YouTube (smack in the middle of their outage earlier today, which made the whole experience just tons of fun.)

And yes, I did try running the FCP SmoothCam filter over some of the handheld footage.  I played with the SmoothCam settings quite a bit actually and rendered out a few tests.  None were satisfactory, so I’m taking my lumps with the raw footage.

Why YouTube vs. Vimeo?  1) Vimeo only allows 1 HD upload per week unless you pay money.  I don’t currently produced enough video to warrant the subscription, so it’ll be Sunday before I can upload the next video.  YouTube doesn’t seem to have such a restriction.  Fortunately they both ingest the same formats/bitrates/etc.; and 2) Videos are much more “findable” by the masses on YouTube vs. Vimeo.  The purpose in making these was to promote the band, so it makes sense to make the videos available as widely as possible as long as the quality doesn’t suffer too much.   This was my rationale — we’ll see if it was a good decision or not.

A model project

Brooks Jensen is the publisher of a great B&W photography journal called Lenswork.  I’ve mentioned Lenswork in earlier articles and I also recommend that photographers subscribe to his Lenswork Podcast.  As the publisher of a photography book Brooks always has an interesting take on photographic projects — he sees zillions of submissions and so he speaks from experience.

Lenswork Podcast #526 discussed the idea that a project should explore depth not repetition.   Good stuff.  I’m currently working on my next exhibit and this was sage advice.

Yesterday evening, after a long day of editing (and signing letters) I opened up the latest issue of Arizona Highways magazine that had arrived along with the pile of letters looking for our attention (all of them wanting our money in different ways — short of running a ponzi scheme will we ever have more letters with people giving us money?)

Arizona Highways is one of those rare magazines that produces both great editorial content and phenomenal photography.  I’ve been a subscriber for many years.  Compared to most of New England, Arizona looks like a photographer’s paradise: varied scenery, sweeping landscapes, abstract shapes, color, sky, sun, stars — and Arizona Highways magazine is both a source of inspiration and frustration (because I haven’t been able to make time to visit the state for any length of time).

Every once in a while you turn a page of this magazine and you just say “wow”.  Today I saw the first photograph of an article and said wow.  Turned the page.  Wow again.   3rd page.  Wow…  And it just kept going.   (And after a bit I read the comments and realized that the editors were equally taken by this project.)

Wes Timmerman’s fantastic “Rock Art” article on page 25 is a must see.  From both the photographic skill and, getting back to Brooks Jensen’s advice of depth not repetition, the structure of the project.  Here was a set of photographs that could have easily just continued on in one direction but rather pushed deep.

Most important for me, personally, is that while certain aspects of this project were “Arizona” influenced, there’s nothing in it that substantially couldn’t be reproduced here — in (relatively) boring New England.   Having spent the weekend driving around parts of Maine and New Hampshire looking for something interesting to photograph and not finding much, I realize that I need to dig a bit harder.

[Photograph above: A mountain stream among the birches, Frost Mountain, Brownfield, Maine.  Canon 5D Mark II, 24-70mm f/2.8 L]

Giant Kings at SMAC – Video #1

As promised in an earlier post, I have a video from the Giant Kings show at the Stone Mountain Arts Center.  This is Wilson Pickett’s classic song “I Found A Love”.  The band invited the center’s owner, Carol Noonan, up to the stage to join in the fun.

[vimeo]http://vimeo.com/4600260[/vimeo]

The Giant Kings are Duke Levine, Chris Cote, Paul Ahlstrand, Mark Earley, Kevin Barry, Marty Ballou, and Andy Plaisted.

The best way to find when the Giant Kings will be playing next: visit Duke Levine’s MySpace page.

Technical drivel:

Recorded using a Canon 5D Mark II with a 70-200mm f/2.8 IS L lens.  The camera was on a monopod. Exposure compensation -2/3 stop.  Audio was from the camera (next time I promise to plug in a real microphone — although that has its own problems).  Filmed with automatic white balance and corrected in Final Cut Pro  (I have a preferred color balance setting in Lightroom for SMAC stage photographs and need to try dialing that into the camera to see if it will work right out of the camera.)

The Giant Kings at SMAC

The Giant Kings, the brainchild of Duke Levine and Chris Cote, and a regularly seen band around Boston (Lizard Lounge, Precinct) rocked the Stone Mountain Arts Center on Saturday night applying their prodigious talents to classic R&B, soul, and roots rock music.

Duke was kind enough to give me permission to photograph the evening and a gallery of photos from the show can be found at smac.dmg-photography.com.

I shot some video with the 5D Mark 2 and I will post that in a upcoming article.

Here are the Giant Kings, L-R: Mark Earley (baritone sax); Paul Ahlstrand (tenor sax); Kevin Barry (lap steel and guitar); Duke Levine (guitar); Chris Cote (vocals); Andy Plaisted (drums); Marty Ballou (bass):


Chris is a remarkable vocal talent (and, like all good frontmen, a bit of a ham).  Here he’s doing an amazingly good job of handling the trombone solo for the song (there’s a bit of rough video for that coming as well).


Technical drivel:

Photos were taken using a Canon 1D Mark II at ISO 1600 and a Canon 5D Mark II at ISO 3200 (most of the time).  The 5D served double duty and shot video a good chunk of the time.  Lenses: 70-200 f/2.8L IS and the 24-70 f/2.8L  (and definitely not stabilized).  Most shots are handheld, but some were taken with the monopod.  (Video from the monopod is marginal, without it it is downright useless if you don’t have a stabilized lens.  Heaven knows I’ve tried.)

Thanks for a great gallery reception

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On Tuesday evening I hosted a reception for a small exhibit I have hanging in the art gallery of the Agawam Public Library.  My deepest thanks to the friends, family, and supporters of the arts for stopping by, looking at my photos and purchasing prints.   (I guess you can consider it a small success when the library staff has to come over and ask you move to the meeting room because  there are too many people talking.)

I think we had 30 or so people stay for the presentation, which by all accounts was well-received.   Our hosts at the Agawam Public Library had a strict close-up time and I was nervous about getting packed up in time — it would have been nice to have more time hang around a bit longer and answer questions.

The exhibit will be there all during May.  Stop by if you are in the area.

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Using the Dymo DiscPainter

I recently decided to produce a DVD in support of a gallery exhibit that is traveling around the area. We wanted to provide an alternative to print sales and a lot of people seem to be getting these new-fangled wide-screen televisions — so we’re testing the waters a bit.  (Providing DVD’s to clients with digital images on them is common enough that even if this sales experiment fails there is an existing use case for the invested gizmos and materials.)

Creating the bits that get burned into the DVD is pretty straightforward (in this case Apple’s iDVD was sufficient to the task).  But presentation is everything and a blank DVD marked up with a sharpie pen really doesn’t say “buy me” — so we decided to invest in a printer for the DVDs.  Steve Simon, a world-renown photographer and regular participant on the This Week In Photography (TWIP) podcast had mentioned the Dymo DiscPrinter as being a relatively inexpensive way of creating professional appearing DVDs.  There was a manufacturer’s rebate on them so we rolled the dice and ordered one from B&H for $214.

If you haven’t seen this thing in action take a  look at the (admittedly somewhat boring) video.  In a way it works like your DVD burner, but instead paints ink on the label side (you need special printable DVDs for this) rather than shooting a laser on the data side.  I’m not sure if the print head even has black ink, so there’s a real limit to what this thing can do contrast-wise.  It will apparently print at 600 dpi (normal) or 1200 dpi (best).  You can also vary the ink density to deal with different types of disks (some have a matte finish, some are glossy).

[flv w=320 h=240]/video/20095-discpainter-320.flv[/flv]

It’s pretty fast — just a couple minutes to paint a DVD.  Certainly faster than my Superdrive can burn them, so the labeling isn’t going to be the bottleneck in any production workflow here at the office.

The printer comes with software you can use to design labels, but the real power comes in simply treating the DiscPainter as a printer from a program like Photoshop.  They even supply some template files you can use as a starting point.  I took one of the images from my slideshow and used it as the background for the label.  Not knowing much (or reading anything to speak of) I printed it with the default settings.  The result was about what you’d expect when you don’t pay attention to details: legible but ugly.  It was a good exercise as it gave me a tangible example for font sizing, etc.  I had design flaws with the label that needed to be solved as well as the technical ones.  When prototyping to have to be willing to throw (at least) the first one away.

After redesigning the label I decided to attack the technical issues.  The first thing I did was read the manual.  That helped a bit.  I had not selected the proper media for the type of disks I had.  This is akin to selecting a “matte paper” in the printer settings and dropping in a semi-gloss paper.  The results are never satisfying.  During that throw-away run I had opted for the “normal” quality, so I decided to select “best” with the ink density set to “Glossy 6″.  This was the result:

There were a number of things wrong with this.  First of all there was a pretty awful green cast.  Second was some pretty obvious “striping” that turned most of the details to mud (see detail below).  This striping is an artifact of how the printer works, but compared to the throwaway test it appeared to be a lot worse.

So I printed the next disk with the “Normal” quality setting and the ink density set to “Glossy 6″.  To my eye the dither pattern of this supposedly lower quality setting produced a superior looking result.

The label still had a washed out appearance.  For the next disk I decided to increase the ink density to “Glossy 7″ (quality remained at “Normal”).

This was beginning to look half decent.  Next step was to remove the green cast.  My first stop was to review the instruction manual then Google around a bit.  I’m used to a color-managed workflow and wondered if there was an ICC profile for this device.  Apparently not.  I checked my working profiles, etc. to make sure I wasn’t doing anything dumb.  Again, apparently not.  Time to break out the hammer….

I added a “Curves” adjustment layer to the image, selected the green channel, and dropped down the green curve about 5 points with an emphasis on the shadows.  This was, in all honesty, just a wild guess.   The resulting label, using Normal/Glossy 7 was this:

Spending a ton of time (and money) tweaking this to death is not my idea of fun.  At this point the green channel tweak warmed up the image so that while it may not be faithful to the source image it met my needs for a background.  While using the “Glossy 7″ ink density did a nice job, I thought I could push the contrast just a bit more so I added another Curves adjustment layer and dropped in a classic “S” curve to tweak the contrast every so slightly.  This turned out to be the final result for the day and I completed the initial run of DVDs with it:

[Apologies for the not terribly consistant lighting in the examples.  Wide images with Canon 5D Mark 2 and 24-70mm L; closeups with the 100mm Macro.]

Earth Day – Concord, MA

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For the past few years the Musketaquid Arts and Environment program of the Emerson Umbrella Center for the Arts in Concord has created an Earth Day parade and festival in Concord, MA.  The Organization for the Assabet River, an organization I’m closely affiliated with, participates in the parade — in the past with a canoe on wheels accompanied by volunteers wearing colorful “fish hats”.

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This year the imaginative OAR folks created a rather huge dragonfly, which given the occasional breeze we had in the morning was a bit of a challenge to control – but they did a wonderful job and it garnered oohs and ahhs along the route.

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Parades are a great place to do photography — they are dynamic and generally everyone participating is in a good mood (once they get moving).

If you want to see a large gallery of images from the parade visit my events site: events.dmg-photography.com

Click to continue reading “Earth Day – Concord, MA”

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