Well, here we are… a couple days away from the end of what has undoubtedly been the worst, most topsy turvy, and most disappointing year that most of us have ever lived through. In less than 48 hours, the year, and the decade, will officially be over.

2020 certainly threw most of my plans and big ideas down the toilet, but as a generally positive person, I’m trying hard to look forward to better times ahead, even though it will still take awhile for us to return to any sense of normalcy on a grand scale. Being a healthy person who does “non-essential” stuff for a living, I’m still about 250 millionth in line for getting a vaccine.

I would argue that inspiring people to be more creative is an important role to play in society, but let’s face it. I’m not saving lives, teaching our kids the critical skills they need to enter our future or solving the big problems of the world. So, I’m ok waiting a few more months until I can run free and mask-less, and go hug all of my friends.

I figured that for my last post of the year, I would look back and try to pick out the good things that happened to me in 2020. Yes, despite all of the doom, gloom, immense frustration and uncertainty we’ve had to endure for the past nine months, there were a few good moments.

Although I didn’t shoot as many photos as I usually do in a typical year, I wrote fewer blog posts, didn’t fly very much, occasionally forgot how old I am, and rode about half as many miles on my bike as I did last year, I did play more music, write more songs, bake more bread, read more books and shoot more video lessons than I did in 2019. I also took up woodworking, so all in all, I did stay pretty creative in 2020. That’s pretty much what got me though.

That and all the grilled cheese sandwiches.

January

2020 started off ok, and I jumped into it with lots of enthusiasm. I shot some cool aerials, had fun riding my snow bike in those cold January below-zero days, and captured the amazingly brilliant hoar frost that we often get during the early winter here in Anchorage.

I also launched my Patreon Page, got featured during Adventure Week on the B&H Photo Explora Blog, and released my first adventure video short film, called AERIAL ADVETURE: Winter Flying in Alaska, a montage of aerial video clips and photos shot from the open window of my 1947 Cessna and set to an original piece of music that I wrote and recorded.

So yea… I had lots of reasons to be happy about 2020.

February

Things were still looking good as the winter continued on here in Anchorage. I rode many miles on my snow bike, shot even more cool aerials, and got the Fujifilm X100V, lit a huge candle of excitement and creativity under my photography.

With its updated sensor, lens, flip-up LCD screen and new CLASSIC NEG. Film simulation, I found the stylish little X100V to be an incredible fun camera. February officially began my love affair with this little picture taking machine, and I often found myself leaving the house many times throughout the year with ONLY the X100V, and leaving the X-T3 at home.

Unfortunately, February was the last good full month of 2020…

March

That whole thing about March coming in like a lion and goes out like a lamb got totally thrown on its ear in 2020. March started off ok, and I spent the first week and a half filming my good friend Rebecca Rusch as she rode her fat bike on the Iditarod Trail, enduring blisteringly frigid temps, endless miles of pushing a fully loaded rig through deep snow in the dark between checkpoints, and generally suffering through an incredible Alaska challenge.

Then, as soon as I got back from shooting along the Iditarod trail, I flew to Oklahoma, where my wife had signed up for a 50K run and 100 mile gravel bike race called The Mid South with two of our good friends.

By then, COVID-19 had started to creep out of the woodwork, and we considered not going. I had a feeling that things would get worse, but we took a chance, and the day we arrived in Oklahoma, it was officially declared a worldwide pandemic.

During the week we were there, the whole thing snowballed, and the Mid South ended up being the last big cycling event for the rest of the year. If it had been schedule for a even a few days later, it would have been called off too. We ended up flying home on March 17. In addition to being a very stressful travel day, that was the last time went anywhere outside Alaska. Like everyone else, we began our two-week quarantine, which is essentially still going on, nine months later.

During the rest of March, I spent many days taking long 2-3 hour walks by myself on the snow covered trails through the wooded areas near my house, often times without the camera. I wrote a blog post called Tips for Staying Creative and Shooting Close to Home. And I began another sourdough starter and began making more bread like everyone else. Fortunately, I already had a few bags of flour left over from the winter, so I was able to keep going, despite the bare grocery store shelves.

And I played my XBOX quite a bit.

April

April… What is there to say about April?

The whole world collapsed inward as we all hunkered down and tried to figure out what the heck to do next. The whole Zoom thing exploded, and in April, I did my first Zoom photo presentation with Glazer’s Camera in Seattle.

That was the first of a handful of webinars I’ve done this year, but thankfully, I didn’t have to turn my entire working life to Zoom, like so many people have had to do. For me, a Zoom chat is an occasional thing, I’m not on there for hours every single day like most of my fiends are. Like pretty much everybody is.

I also wrote and recorded a song called “Dr Fauci Say,” and I even shot my very first music video. Seemed like a good thing to do during a pandemic, and after all, I grew up in the golden age of MTV. I often struggle with songwriting, but this one came right out, and I love how both the music and the video turned out. I continue to hope that Dr. Fauci actually has a chance to see it.

Most of April consisted of taking more long walks and baking bread, doing visual road bike races on the trainer, since the spring cycling race season had been canceled. I finally did my first snow-free outside ride on April 23.

May

By May, it was finally dry enough to start riding the gravel roads and trails around Anchorage. So, I spent a lot of May on my bikes. One huge highlight was the solo hill climb that Rebecca Rusch had dreamed up called the Giddy Up For Good Challenge. Cyclists worldwide took part in this inspirational self-motivational virtual event and rode as many laps as they could on their chosen hill and then upload the ride to Strava.

Picking one of the high gravel roads that winds into the foothills of the Chugach Mountains, I ended up riding 82 miles and over 16,000 feet of elevation in almost ten and a half hours. I had a couple friends join me for a few socially distanced laps, but I rode most of my 13 laps all by myself and had a wonderful day of hill climbing solitude on my Salsa Fargo.

I also got back to shooting video tutorials and posting regular lessons on my YouTube Channel. Between May and November, I shot and posted about 20 videos, an average of one each week, in addition to my monthly Photography on the Brain lessons, which I’m still doing every month.

By the end of May, we also had our first haul of fresh basil from the garden. So yea, that was a good thing. And I baked a lot of bread.

June

June is usually the best month in Alaska, but the past couple years have been a little disappointing. Last year we had smoke from the wildfires, this year we had a pandemic. So no mountain bike racing. No hanging out with friends. No going to the brewery. No pretty much everything.

That said I did more hiking this year, including some really fun solo hikes in June. Just me and the X100V. I flew a couple of times in June and shot a virtual photog workshop out at the Kink Glacier one afternoon. That was fun.

At the end of June, I signed up for a huge new challenge; an endurance mountain bike race/event called the Kenai 250. it was the hardest and longest mountain bike race I’d ever done, and I ended up finishing with 255 miles and over 21,000 feet of climbing in 46 and half hours.

With only a four-hour sleep in Seward at the halfway mark, I pretty much rode non-stop and actually felt great for most of the race. In a stupid weird pandemic, what could be better than spending nearly two full days of solitude on your mountain bike, riding some of the best trails in Alaska?

July

July. I almost can’t remember what happened in July. By then, the days, weeks and months and all run together, and every day was just “day.” I didn’t upload a single new photo to my WordPress Dashboard.

I did a more hiking in June, submitting McHugh Peak four times by way of all four ridge routes. That was a lot of fun. I also went to take pictures at a city-approved, socially distanced mountain bike event where I actually got to see a bunch of my friends for the first time in months. It was a little weird, since we all had to stand so far apart.

July was also the start of my pandemic woodworking distraction period. Resting up from the Kenai 250, I decide to yet again, try something new. I built three compost bins in the yard and then started building a bench out of 2×4’s. More on that later.

I also harvested more fresh basil for pesto, picked the first strawberry of the season and baked more bread.

August

By August, I was in full swing with the weekly YouTube video lessons, and I also made another adventure short film called Lake George Glacier Hike, again, set to original music.

I really like doing this kind of “video to music” thing, because it allows me to combine my two biggest passions of photography and music. After all, I got my degree in music production and recording, so it’s fun to infuse all of that knowledge I have into my professional and creative life.

And, having completed the bench during the first week of August, I set about building two workbench tables for our back deck. Despite having very little experience building things, I found that I’m ok at it, and that I really enjoy the process. I like the creative problem solving aspect of woodworking, I like the fact that I’m producing something tangible, unlike most of my other creations, which are mostly digitized pictures and music.

And I enjoyed the solitude of being out there in my back yard playing with tools and doing something totally different that what I’m used to. It was a very pleasing way to pass the time. I’m super proud of how the bench turned out, and it now sits in a prominent place my back yard, all covered in snow.

I can’t wait to sit on it with a couple of friends for the first time later this year.

September

I flew a couple of times in September, but most of the month was dominated by more woodworking. Having built my confidence and skills up, I decided to try building a shed. I figured that at the very least, I could get a floor built and then cover it for the winter.

However, things went far better than I expected, and I spent every single nice day of the month building, making mistakes, learning how to fix my mistakes and enjoying the solitude and satisfaction of building my first structure.

By the end of the month, I’d raised all four walls and put the siding on. Then after so many nice days, we had about a solid week of rain, so I had to put the whole job on a short hiatus.

October

The rain finally stopped, and I was able to get the roof on, install the window and door and put up the trim. By the third week, the shed was finally done, and as with the bench, I was incredibly pleased and proud of how it turned out. Now it’s covered in snow.

I also competed in the rescued, socially distanced, COVID-adapted cyclocross race season that took place here in Anchorage this fall. I felt a little weird about having to race with a mask at the start, and not being able to get too close to my friends, but after jumping in halfway through the season, I did three races and had a really good time.

It wasn’t as weird as I thought it would be, and it was really nice to see so many of my friends who I hadn’t seen in months. Those three Saturdays in October were a very nice respite from the isolation that has dominated much of 2020.

The other great thing that happened October was that Photo Mechanic was finally introduced with a full catalog feature. Having been a die-hard Photo Mechanic user for years, this was music to my ears, and I immediately downloaded the new update and did a couple of YouTube videos about the new version.

Along with millions of other people around the world, I mourned the death of Eddie Van Halen when he succumbed to cancer on October 6.

I also voted, since we had early voting up here.

November

The snow arrived in November, and it wasn’t just any snow, it was really good snow that stuck around. It was suddenly fat bike season once again, and the riding was fantastic. I did a number of rides with my neighbor, who I’d never ridden with before. He’s about the only person in my bubble, and we hang out with them for occasional “outside fire pit” get togethers.

I flew once in November, but it was too windy up there for good aerials, so I just puttered next to the foothills, watched a nice sunset and came home.

I also posted a video called “How I Got The Shot“, which will be the first in a series of behind the scenes lessons where I walk you the process and story of how I created some of my favorite photos.

During the Thanksgiving weekend, I baked 14 loaves of bread and gave them away to friends and neighbors. And I spent many evenings during November playing guitar and paying video games on my X BOX.

December

In December, I did two Zoom webinars, a landscape photography presentation for Delaware Camera in Buffalo, NY, and a Fujifilm X RAW STUDIO lesson for B&H Photo.

I also wrote and recorded an original song called A Very Cozy Christmas” and made a music video. I thought that after my Dr. Fauci song, I would keep up writing music, but for whatever reason, I let it lapse and didn’t write anything else until this one, months later.

I’m really excited about how the Cozy Christmas song and video came out, and in fact, there are two HUGE milestones that happened right when I released it.

After creating an artist profile on the music website Bandcamp, and posting my three-song Christmas EP, one of my followers came by and purchased the collection. In other words….

I sold my first album, ever!!! 😀

I can’t begin to describe how awesome this felt, to put my music out there and have someone come by and pay for it. I’ve been a musician for longer than I’ve been a photographer, and this is the first time anyone has bought my music. After all this time, my music career is finally taking off! 😂

I actually plan to keep writing and recording more music in the coming year, so stay tuned for more releases form me soon! If you’re on Bandcamp, you can follow me so you’ll be notified whenever I post new songs.

The other VERY cool thing was that Fender… yes, Fender Musical Instruments, the company behind legendary guitars like the Stratocaseter and Telecaseter, officially liked my song on Twitter!!! How cool is that? This is by far the coolest tweet I’ve ever received and I’m going to save and cherish it forever. I’ll probably print it out and hang it on my wall.

Thank you for your support. Now, Bring on 2021!!!

So, we had a nice, quiet, cozy Christmas here at home, and have been spending the past few days, laying low, baking more bread and enjoying fires in the wood stove as we look forward to the new year and the better times that surly lie ahead.

It will take time for us all to get back to normal, or some semblance of what normal will be at the other end of this dark tunnel, but those days will come. I’m excited about returning to numerous aspects of regular life, but at the same time, I’ve kept very busy during 2020 and have managed to try new things and expand my own horizons right here at home.

As much as I miss my friends, I’ve actually relished some of my solitary moments spend alone, spend doing things that I love, whether it’s playing music, baking bread, eating really good grilled cheese sandwiches, talking to my dad on Face Time or sitting in my leather man-chair with a glass of whisky and listening to music.

And although my business was certainly affected by the pandemic, I never got to that stressful point where I had to worry, and that’s directly because you guys, my awesome readers and subscribers, came through. You guys kept me afloat by purchasing my ebooks, watching my YouTube videos, supporting me on Patreon, and subscribing to my Photography on the Brain lessons.

For that, I’m deeply and genuinely grateful, and I’ve done my best to pass it along, because we are truly all in this together.

So as we close out 2020 and look forward to 2021, I just want to say thank you so much for your support. Best wishes for a renewed year ahead as we crawl back toward the light.

-Dan Bailey

December 30, 2020
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A Look Back at the Good Parts of 2020

Last week, I did a webinar with B&H Photo that covered how to use FUJIFILM X RAW STUDIO program. During the hour-long talk, I ran through the basics of how X RAW STUDIO works, showed how I use it in my workflow, and outlined some tips on how to make the most efficient use of this very cool app.

The video replay of this webinar is now live, and you can watch it here, or you can watch it on Facebook.

X RAW STUDIO is a free program, which you can download here at FUJIFILM’s website. Unlike most other RAW converters, it takes a unique approach by letting you use and adjust the exact same parameters that you’ll find inside your camera, such as Highlight/Shadow Tone, Color Chrome Effect, White Balance, Monochromatic Color and more.

You can also try out different looks with Fuji Film Simulations to your imagery, and these aren’t copies, they’re the 100% exact color recipes that are used inside the camera.

In fact, X RAW STUDIO actually uses your X Series or GFX camera’s processor to do the conversions (you hook you camera up to the computer via USB), but you use your computer to view your files, make your adjustments and see your changes.

X RAW STUDIO can work great a companion app to your regular photography software, or your can use it on its own to speed up our process and streamline your creativity.

There’s quite a lot you can do with this program, so watch the video and learn how you can incorporate it into your Fuji photography workflow.

December 29, 2020
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Watch The Replay of My FUJIFILM X RAW STUDIO Webinar

We can all use a little coziness at the end of this topsy-turvy year of 2020, don’t you think? With that in mind, I wrote and recorded a brand new rock and roll song to match the mood, called “A Very Cozy Christmas.” I’m sure it will bring a smile to your face, even if you’re not a Christmas person. 

You can also listen and download the song, or download my entire Christmas EP here. Happy Holliday wishes to your and your family, wherever you are on the globe, and thanks so much for your support during this very challenging year.

Let’s all look forward to a better, less rocky road ahead as we put 2020 to bed and head towards 2021! Enjoy the song, share it with everyone you know and take care!

Video shot with following equipment:

December 21, 2020
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Happy Holidays and Best Wishes for a Cozy Christmas!

Last week, I did a Winter Landscape Photography Webinar for Fujifilm and Delaware camera in Buffalo NY. If there’s one place in the Continental US that knows about winter, it’s Buffalo, so this was a fitting outlet for me to talk about shooting in the wintertime. Knowing that not all of my followers could tune in, I asked them if they would record it. I have now shared the video to my YouTube channel.

During this hour-long presentation, I share my insight about the techniques I like to use and the types of elements that catch my eye when I’m out with the camera during the winter months. I talk about things like light, compositional techniques, exposure, dealing with the cold, and my favorite lenses I like to use for capturing winter subjects.

The entire video is almost two hours, but some of that is into and a long post-workshop conversation between me, the host and some of the other chat members, who stuck around until we finally decided to pull the plug. So, the workshop itself lasts for about an hour.

Thanks to Fujifilm and the crew at Delaware Camera for hosting the workshop. I hope you enjoy watching it, or re-watching it! If you were one of the 150+ attendees, then I’d like to say thanks so much for tuning in! I hope you found it to be informative and entertaining.

I’m planning on doing more of these video workshops, so stay tuned!!

December 15, 2020
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Watch My Winter Landscape Photography Webinar

Sometimes I struggle with my own motivation with photography, especially these days with the whole pandemic. There are times when I go a few weeks without shooting a single photo, and then suddenly, something will happen to spark my inspiration and make me want to pick up the camera again.

It might be a specific thing that catches my eye or an engaging creative idea that comes to mind, but most often, it’s the light. After all, light is the most important element in photography and it’s usually what inspires us most as outdoor photographers.

The other day, I was lounging around in my living room, resting up after a long snow bike ride the day before. The sky was kind of clear, but a light fog created this brilliant, warm glow around the sun, which I could see poking through the large pine trees in my neighbor’s yard across the street. And it was snowing.

This is just the kind of thing that makes my creative blood run hot, and so I ran into my office, grabbed my X-T3 and slapped on the Fujifilm XF100-400mm lens, which is my favorite long lens for isolating distant subjects. Stepping out onto my front porch I, dialed in the Velvia film simulation, zoomed the lens all the way out and framed the scene so as to exclude the top of my neighbor’s chimney.

Shooting hand-held with the lens stabilization on, I captured a number of different compositions and created a handful of images that I absolutely love. The match gets lit and creativity starts flowing again, just like that.

Inspiration is a funny thing. Sometimes you can force it. Sometimes you have to force it, like if you’re shooting an assignment.

Often times, though, it just takes opening yourself up to it by relaxing and not thinking too hard about it. Just focus on what’s in front of you, start shooting something and chances are, you’ll soon find yourself lost in the process.

If you are struggling with inspiration right now, check out this post: Landscape Photographers on Creativity and Inspiration, and also Tips for Staying Creative and Shooting Close to Home.

December 2, 2020
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Those Brief Sparks Of Creative Inspiration

I started a new series today on my YouTube channel, called How I Got The Shot. In this series, I’ll walk you through a selection of my favorite images from the past few years and share with you the specific approach, gear and techniques I used to capture each image.

In addition, I’ll even share the story behind the photograph. So, it’s basically a combination of instruction, introspection and some fun anecdotes that take you behind the scenes of some of the photographs I love most.

The first video in the series, which I posted today, is called How I Got The Shot – Glowing Iceberg. In this concise tutorial, I share with you a particular memorable image that I shot out at the Knik Glacier a few years ago and give you some tips about how you can use the same techniques I used in your own photography.

This approach is done in the same style as my Behind The Landscape ebook, where I describe the exact methods, gear, creative decisions and technical execution for 16 of my favorite landscape images from the past few years. I that one of the best ways to learn any craft is to look over the shoulder of a pro, and that’s exactly what you get to do in my ebook and in this video series.

I think you’ll find it to be both educational and entertaining. Check it out and let me know what you think. 

You can download Behind The Landscape here. Be sure to use discount code BEHIND20 to save 20% on this highly instructional eBook.

November 11, 2020
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Go Behind The Scenes with One of My Favorite Glacier Images

Last week, Fujifilm announced their latest camera, the X-S10. A compact model with IBIS in-body stabilization, and the same 26.1 MP X-Trans sensor and X-Processor 4 found on the X-T4, the X-S10 delivers top level performance for shooting both stills and video in a compact, more affordable body.

Essentially, the X-S10 is the little brother/sister to the X-T4. It offers the same low light performance, ultra fast autofocus full resolution shooting at up to 8 fps with the mechanical shutter, and up to 30 fps using the electronic shutter, 4K video and all of the other main creative features found on the X-T4, but in a smaller, lighter body that is designed to appeal to a wider range of photographers.

With a different top deck configuration, the X-S10 adopts a more traditional DSLR type look and feel for the body, that Fujifilm is hoping will be more familiar, and more attractive to non-fuji shooters. Instead of the regular “Fuji-style” layout, the X-S10 has a dedicated exposure mode dial and two additional dials that allow for fast control over other camera and exposure settings.

Obviously, Fujifilm is trying to bring more DSLR shooters into the fold, and they’re hoping that this design will help entice photographers away from their Canon’s Nikons and Sonys.

Their strategy is to ease them through the door, and then wow them with the amazing colors, quality and creative options that make the X-Series cameras so well regarded.

Being the third camera in the Fuji line to offer 5-Axis IBIS stabilization to the X-S10, this is the first time they’ve added this feature to one of the less expensive models. It’s a system that works extremely well, no matter if you’re shooting stills or video, and it adds quite a bit of value to an already great camera.

In the past, Fuji’s X-T10/20/30 camera have all been highly capable and very popular models. They’ve all offered excellent, pro-level performance, and superb value, and I see this as being the case with the X-S10. Following their history, this camera could be considered the X-T40, but given the different body style, Fuji clearly decided to set this one apart.

Basic Specs

The X-S10 has pretty much the same specs as the X-T4, with a couple of additions.

• 26.1 MP APS-C X-Trans Back Side Illuminated CMOS 4 Sensor and X-Processor Pro. It’s the same sensor and chipset found on the X-T4, X-T3, X-T30, X-Pro 3 and X100V, and it offers improved tonal and color rendering and improved low light performance, with a native ISO range of 160-12,800.

• 5-Axis IBIS In-Body Image Stabilization. A highly capable sensor-shift stabilization system, this helps to miniziae camera shake by up to 5 stops, and it works in conjunction with most X Series lenses, even non-stabilized lenses. It helps increase sharpness when shooting still images at slower shutter.

In addition, a 4-Axis digital image stabilization system can be used when shooting video to further aid in steadying your footage.

• DCI and UHD 4K Video Recording. The X-S10 offers a versatile array of video capabilities that allow extremely high quality options for video and filmmakers. It can record 4K DCI/UHD 4K video at up to 30 fps, and Full HD recording at up to 240 fps for ultra slow-motion playback.

The fast processor speed of the X-S10 enables very fast write speeds and helps to reduce rolling shutter distortion when filming moving subjects. The camera also has a 3.5mm microphone jack and a micro HDMI port that enables 10-bit recording to an optional external or HDMI monitor.

• Ultra Fast autofocus system with 425 phase detection pixels that cover the entire frame. 

• A Host of Creative Shooting Options. The X-Ss10 contains 18 Film Simulations, including Classic Neg., Classic Chrome, ACROS and ETERNA BLEACH BYPASS, as well as other creative settings, including Monochromatic Color, Color Chrome Effect, Color Chrome FX Blue, Clarity, HDR Mode, Grain Effect, PRE-SHOT ES, and all of Fuji’s ADV creative filters, including Toy Camera, Miniature Mode and Dynamic Tone.

• Built-in Bluetooth and Wi-Fi Connectivity. This allows for wireless shooting and sharing your images to a mobile device.

• NP-126S Battery. Unlike the X-T4, which uses a different battery, the X-Ss10 uses the same NP-126S battery that every other X Series camera uses. This makes it a very easy chose for those photographers moving up from older X Series models or people looking for a second body or a dedicated video body, since the batteries are interchangeable between the different models.

• Pop-Up Flash, Silent Control, RAW Shooting in Auto/SP Mode, Flip-out LCD Screen and more.

Overall

Packed with high performance capabilities in an affordable, compact, lightweight body, the Fujifilm X-S10 looks like a great addition to the line. I see it appealing to a wide range of shooters, as a full-featured main camera for photographers, filmmakers, bloggers and YouTubers, or second/backup or dedicated video body and a small, but highly capable travel camera for shooting film and stills.

Even though it has a slightly different body style, inside, it’s X Series to the core, with all of the functions and features you need to make whatever types of imagery or film you want to create.

The X-S10 is up for preorder now, and it’s slated to ship on November 19. It will be available as a body, or as a kit with either the 18-55mm lens or the 16-80mm lens.  

 

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November 2, 2020
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Fujifilm Announces the IBIS Equipped X-S10 Camera

Last week, I told you about the new version of Photo Mechanic, which includes a full catalog and image database system. Being a longtime user of Photo Mechanic, this was very good news to my ears, and so I made a video that shows off this new feature.

I also promised to make a basic Photo Mechanic Tutorial that shows you how to use the program to manage your images, even if you don’t have a need for the catalog function.

This week, I posted a two-part video tutorial that shows walks you though the basics of Photo Mechanic, and how to use the essential functions for importing images, browsing, sorting, rating, tagging, adding captions and keywords, saving, exporting, uploading and even sending photos to an external editor. 

Photo Mechanic is one of, if not the best photo management system around, and I use it for nearly every single aspect of my regular workflow. I’ve even used it in conjunction with Lightroom, Photoshop, Capture One and Luminar, and I find that it adds increased efficiency to my process. One thing that I love about Photo Mechanic is that it is very easy to add watermarks.

If you’re a new Photo Mechanic user, or if you’re at all curious about the program, you’ll definitely want to check this out. You can watch the lessons here, or find them on on my YouTube Channel.

If you have any questions about Photo Mechanic, feel free to ask or post your questions/comments in the video comment section.

October 29, 2020
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Watch My 2-Part Basic Photo Mechanic Tutorial

In what is undoubtedly the best news in all of 2020, Photo Mechanic software now has full image database functionality, which means you can use the program as your main photo catalog and image library.

I can’t even begin to describe just how awesome this is, or how excited I am at this news, but in the few brief moments I read the announcement and downloaded the update, my photography life changed instantly. The sun just got a whole lot brighter, and for a short while, I even forgot about the pandemic.

First released in 1998, Photo Mechanic has long been the world’s fastest image browser, and it’s perhaps the best all around photo management program around. Its performance is unparalleled by any other software. With Photo Mechanic, you can browse and scroll through huge folders of images, even RAW files, at blazing speed. We’re talking thousand of photos. Tens of thousands, as fast as you can scroll with the mouse or your trackpad.

And not just that. Photo Mechanic is powerful solution for adding captions, keywords, tagging, staring, rating, copying, saving, moving, assigning GPS coordinates, adjusting capture times, adding watermarks and even uploading to social media.

It handles RAW+JPEG seamlessly and efficiently, and unlike Lightroom, if you’re opening a RAW file in an external editor, like Luminar, Photo Mechanic sends the original file. (Lightroom sends a copy of the file AFTER it’s already demosaiced the file through its own conversion process, which often leads to sharpness issues with Fuji X-TRANS RAW files.)

If there’s one program that I have used more than any other program in my photography life during the past 14+ years, it’s Photo Mechanic. It’s been an absolutely indispensable tool, and the only thing that was missing was a full catalog function, hence the need for Lightroom, but that day has now arrived. (Read my post 4 Reasons Why I’m in Love with Photo Mechanic.)

Photo Mechanic Plus

Camera Bits, the company that makes Photo Mechanic, has been working on this for years, and this month, they released Photo Mechanic Plus, which combines all of the capabilities of the original program with a powerful image database.

Offering the same browsing experience and all of the same tools and features that make Photo Mechanic such a viable component in your photography workflow, Photo Mechanic Plus gives you even more tools to help you manage your digital photography life.

• Comprehensive Search Box

The search tool inside Photo Mechanic Plus allows you to search across multiple drives, even external hard drives and network drives, using simple keyword search to complex searches that cover everything from capture times, exact captions, image dimensions, locations and collections.

• Saved Searches

You can craft advanced search parameters that give you highly detailed results, and then you can save them so that you can find exactly what you want, at any time in the future.

• Filters

A powerful filter tool allows you to browse photos by any parameter you select: date, camera, lens, star and color rating, capture time, and any other metadata you select.

• Collections

Photo Mechanic Plus allows you to combine images from multiple folders or drives into cohesive collections that help you stay organized, or present specific batches of images to your clients.

• Multiple Catalogs

Photo Mechanic Plus allows you keep multiple catalogs, and you can browse or search images from one or more catalogs at the same time. This allows you to keep your photos organized in whatever way you wish, without having to close out and open a new catalog just to preview images from more than one catalog.

A Comprehensive Workflow Tool

In my photography life, Photo Mechanic has always sat at the center of my workflow. It’s what I use to import, caption, keyword, tags, rate, copy, move, save, export and upload my photos every single day. I simply couldn’t imagine life without it.

Even though programs like Lightroom do all of this stuff, Photo Mechanic does it all so much faster and more efficiently. The only problem I had was that it wasn’t a full catalog.

Sure, it will browse any folder you want, and if you set up your image library in an easily identifiable structure, you could theoretically use Photo Mechanic as a catalog, but it was limited. It doesn’t have a very powerful search tool, and you can’t filter your results as easily, or as compressively.

With Photo Mechanic Plus, you now have all of that. Speed, powerful management tools and a fully functional database. Boom. Problems solved.

Performance – In Use

A lot of software has catalog functions, but none of them are as fast or as compressive as Photo Mechanic Plus. Lightroom? Please. A great program, but we all know that it’s got some serious issues. For one thing, it’s very slow to render huge batches of RAW files. In addition, Adobe’s RAW Converter doesn’t handle the Fuji X-TRANS RAW files very well. Oh yea… and you have to buy a subscription or else get the less powerful version that won’t ever be upgraded.

Capture One is an awesome program, but it comes with a steep learning curve. And even though it’s got a catalog option, I’ve always found it to be rather clunky, especially if you have a huge image library. I’ve tried to switch to Capture One numerous times over the years, and I’ve never been able to migrate my entire catalog without numerous freezes, crashes and painfully slow browsing.

I’m a huge fan of Luminar, and was excited to see them include a catalog function with Luminar 4. However, as smart as the Skylum engineers are, they’re starting from scratch. They’ll never catch up with Photo Mechanic, which has had a 22-year head start.

I just spent the last weekend uploading nearly 180,000 images across many folders and subfolders into my brand new Photo Mechanic Plus catalog, and I didn’t have a single crash. Not one problem, not one hiccup, not one freeze, not one issue of any kind.

The entire process went seamlessly. The program tore through through folders, images and metadata with ridiculous efficiency, sometime importing batches at over 30,000 images per hour. Now that they’re in, I can browse, search and manage every single image in my library right inside the Photo Mechanic window. Going forward, I can import new images right from my card to the catalog.

Now, the only time I need to leave Photo Mechanic is when I want edit a photo. With single click of the mouse keyboard, I can send an image right to whatever editing program I choose, and then  save it back to whatever folder I wish, sync that folder and done.

Like I said, my life just got a whole lot easier, and yours can too. If you’ve used Photo Mechanic in the past, then you, know what an amazing program it is. Photo Mechanic Plus makes it even better.

Special Introductory rice

Camera Bits has three pricing options for Photo Mechanic plus, depending on if you’re a new user, a current user of Photo Mechanic v.5 or if you’re using the latest v.6. It works with both Mac and Windows, and there’s even a free demo you can try out. Right now, you can take advantage of the special introductory price.

Whether you’re looking for a good photo management system a fully functional catalog solution, I highly recommend Photo Mechanic or the new Photo Mechanic Plus. Both are awesome programs that will make your workflow go so much faster.

October 12, 2020
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New- Photo Mechanic Plus Offers Full Catalog Functionality!

In my two most recent video lessons on my YouTube Channel, I’ve talked about how to ensure proper exposure when using mirrorless cameras, and also how you can use aperture, shutter speed, ISO and the histogram to gain even more control in your process of trying to get the best exposure. 

In my latest lesson, I talk about about the most important decisions you’ll need to make into order for all of this to fall into place and get the best exposure for your scene. If settings like aperture, shutter speed and ISO are the ingredients, think of these decisions as your master recipe for getting a good shot. As good as modern cameras are, it’s these decisions that ultimately determine how your photos will look.

For as much information and detail that modern sensors can record, digital images still can’t match the tonal range that your eyes and brain can recognize out in the world. No camera can render accurate detail in both the extreme highlights and the darkest shadows at the same time. If there’s one thing you remember from this lesson, it should be that.

Of course, you can do this with HDR photography and by blending multiple exposures, but it doesn’t look quite real and our brains know that. That’s why a lot of HDR imagery has such a unique look. 

Due to the way that camera sensors record light, it’s technically better to overexpose your images. However, that doesn’t take into account what looks aesthetically better to us as viewers. We actually prefer it the other way around. We’re drawn much more to darker, more saturated colors over less saturated highlights.

So how do we get around these limitations and contradictions and shoot imagery that is both appealing to your viewers and that preserves enough visual information without blowing out with too much white?

Here’s the answer:

Expose for the most important bright subject matter

This is where your own creative decision making process enters the equation. Knowing that the camera won’t be able to record everything you see, you need to evaluate your scene and prioritize your subject matter in terms of overall importance and go by this all important guideline.

If there’s one exposure rule that you permanently burn into your mind and remember for the rest of your photography life, it should be this:

Your BRIGHTEST SUBJECT MATTER and your MOST IMPORTANT SUBJECT MATTER must be IN THE SAME LIGHT, or else you’ll have too much contrast.

Let’s say you’re shooting a scene that contains both bright, colorful skies and dark shadows. And let’s assume that your subject is moving in and out of the shadows. Maybe there’s some important subject matter in the darker areas of the frame that, ideally, you’d like to preserve.

In this kind of situation, if you were to expose for the highlights, your shadows will drop to black and any subject matter in those areas will completely indiscernible. However, If you expose for the shadows, your nice, rich blue sky will end up as a washed out field of white, which as I pointed out above, won’t look very good.

So…

In order to shoot the scene in such a way that lets you create the most dynamic, exciting image, you need to establish the hierarchy of subject matter in terms of visual/creative importance and do one of these four things:

1. Wait for different light

Wait until the shadows pass, or come back and shoot the scene during another time of day perhaps at sunset, or when the sun has shifted enough to illuminate your shadowed areas.

2. Wait for your subject to come out of the shadows

If your subject is moving, maybe you just need to wait a few seconds or minutes for them to pass through the shadows and come back into the sunlight. When they do, you’ll be able to capture the subject in the same light as the sky and preserve details in both.

3. Recompose and exclude the highlights

Instead of trying to show both, recompose your scene and exclude as much of the highlight detail as possible. This way you won’t have to worry about it washing out. Simply remove it from the equation. This could involve changing vantage points or zooming in with your lens.  

4. Let your shadows drop to black

Instead of trying to look into the shadows, let them drop to black. If there’s no way you can get your subject out of the shadows, then take a different approach and shoot the scene as a silhouette. This will preserve your bright sky, (this works very well with a dramatic sunset) and it will create a suggestion of your subject. 

With many scenes, you don’t actually need to show every single detail in the subject to tell the story. Sometimes the less you show, the more powerful your image will be. Silhouettes can make for very powerful compositions.

These four rules will allow you to better deal with high levels of contrast in your scene. Learn them. Remember then. Pull them out of your hat whenever you’re shooting in challenging light, and you’ll find that they’ll let you solve difficult contrast issues in a multitude of photography situations.

In the next post, I’ll bring it all together, and show you how to combine these decisions with your other exposure ingredients, so that you can effectively nail the look you want for your scene.

September 8, 2020
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The Most Important Exposure Decisions You Need to Make