BEHIND-THE-SCENES TOUR AND FUJINON 16-55MM FIRST LOOK

The first stop on the tour was the glass-floored walkway located at the very top the terminal. Several small open windows gave me this grand view of the terminal's main concourse, including the famous terminal clock located above the information booth at center. Fujifilm X-Pro2 with a Fujinon 16-55mm lens. 1/60 @ f2.8, ISO 2000.

I recently had the opportunity to take a "hard hat" tour of Grand Central Terminal (not station) while in New York City for the annual Photo Plus Expo. I am constantly amazed at the opportunities I get because of my camera.

And also because of the people I know and have met because of the camera, which is how I found myself on this rare tour of the busiest train station in the country. My good friend is the photographer for the Metropolitan Transportation Authority and he set this up for me, something that I've been looking forward to since he first introduced me to Metro-North Railroad's treasure of a tour guide Dan Brucker several years ago.

This abandoned railcar located on track 61 was used by FDR during his presidency to transport him, already seated in his Pierce Arrow limousine, to a private station located under the Waldorf Astoria hotel. Fujifilm X-Pro2 with a Fujinon 16-55mm lens. 1/15 @ f2.8, ISO 6400.

To be clear, I wasn't the only person on this tour and these photos are not exclusive, but it is far from common to have this kind of access and I took the opportunity seriously. That started with renting a Fujinon XF 16-55mm f2.8 R LM WR lens from Borrowlenses.com. I knew that the three and half hour tour would be fast paced and I didn't want to change lenses. I also don't own anything longer than the Fujinon XF 35mm f2 R WR, so a zoom made perfect sense, especially one that is f2.8 throughout.

And it is quite the lens. It had a solid feel, was tack sharp and handled the low light great. However, it was also very big and for me, that size becomes an issue when paired with my X-Pro2. This is similar to the Fujinon XF 16mm f1.4 R WR, another solid, tack sharp lens, but big. What I really love about the X-Pro2 is that people hardly take notice that I'm carrying a pro camera. Adding a big lens on the front, no matter how great it is, takes away from that myth.

The secret sub-basement known as M42 is 13 stories below Manhatten, doesn't exist on any plans and still houses massive electrical converters dating from WWII. Like the railcar photo above, monochrome just made sense. Fujifilm X-Pro2 with a Fujinon 16-55mm lens. 1/15 @ f2.8, ISO 1250.

Of course, if stealth on the street isn't an issue, then you will love this lens. And I really do like this lens and considering that I also use my X-Pro2 for all kinds of photography, it may still find it's way into my bag. But before I do that, I'm going to give the Fujinon XF 18-55mm f2.8-4 R LM OIS, a lens I first used paired with the X-T1 during seven days of shooting in the San Francisco area, another try.

You may also notice that all three photos I chose to include in this post were taken with a focal length of 16mm. So did I really need the zoom? Purely coincidental, I assure you that I did take some photos at other focal lengths.

If you find yourself in New York, take a few hours and visit Grand Central Terminal. Even if you can't get a behind-the-scenes tour, there is plenty to explore and photograph.

HOW DID YOU SEE THAT?

Fujifilm x-Pro2 with a 35mm lens. 1/140 @ f7.1, ISO 800, exp. comp. -1.0. Processed in Adobe Lightroom CC (2015) and Nik Color Efex Pro.

It was my first night in Scotland for an assignment with the Navy. I had left Washington, D.C. the previous evening, arrived at Inverness via Heathrow around noon, and after another three hours of driving, I arrived in the Kyle of Lochalsh and the British Underwater Test & Evaluation Centre where I received an overview of the location where I would be shooting for the next week.

After finishing up and checking into my lodging, I began to explore the small town in search of dinner and a Pint and maybe a few photographs. The sun was already beginning to set and a nice color began to fill the sky.

Forgetting about dinner, and especially the Pint, for a moment, I made my way to an overlook and saw a really nice scene of the Skye Bridge with the sun setting in the distance. In the foreground was the Kyle of Loch Alsh Hotel. More on that later.

I made my way closer and immediately spotted some great rocks covered in green and yellow lichen located just beyond the hotel. I knew right away that those rocks would make a great foreground and a few minutes later I was happily shooting.

Why the title of this blog?

Well the next day several people who had already been in Scotland for a few days, and spotting a photographer now on site, approached to see if I had witnessed the previous night's sunset, eagerly sharing some very nice photos they had taken.

I told them that I too had taken a few photos and showed them one that I had transferred to my phone. They immediately began to complement me and wonder where I took that photo and how cool the colors were, especially in the foreground. They didn't believe me when I told them.

The first view of the setting sun I had before making my way past the hotel to the rocks.

You see, they were all staying at the Kyle of Lochalsh Hotel and photographed that same sunset just 50 yards from where I made my photograph. In fact, they had been there for several nights and never noticed those rocks.

The point of this post isn't to brag that I got a better photograph, that's subjective. In fact, throughout the week I found myself wondering the same thing about a British and Canadian photographer covering the same assignment as I was.

We all see things differently and this was another reminder to look around, not give up on a scene too early and that sharing your work is important to both show others what they might have missed and to show you what you missed. 

And maybe those who saw my version of that sunset looked at something differently over the next couple days. I know I did.

TWO DAYS, TWO VERY DIFFERENT PHOTOGRAPHS

The first thing I noticed was the bare feet and the half empty bottle of liquor as this couple approached me on the boardwalk in Virginia Beach. That was enough for me to turn around and follow. When I noticed the dog, I had all I needed for an interesting photograph. I followed for about five minutes before the crowd thinned enough for me to isolate those elements. Fujifilm X-Pro2 with a 16mm, 1/340 @ f2.8, ISO 200.

Part of me is jealous. I sometimes wish I could settle on just one genre of photography; landscape, street, portraits, weddings, etc., and become great at it. Instead, I find myself photographically all over the place. 

Take for instance a few weekends back. I was in Little Creek, Va., on assignment for the Navy photographing autonomous surface vehicles when weather canceled Saturday operations. Instead of calling it a day, I headed to Virginia Beach to photograph what was remaining of the annual Neptune Festival.

Since it was late in the day and the weather was not great, I decided to walk the boardwalk looking for street photos and then maybe a sunset. Sunset never really came, but I did walk away with one solid street photograph.

With sunrise or sunset photos, I like to have a foreground element. In this case, I used the pier which helps lead you into the photograph. The sun provides some backlight at the end of the pier and adds a subtle warmth overall without overpowering the photograph. Finally, I used a slow shutter speed to smooth out the surf, which further draws you in. Fujifilm X-Pro2 with 16mm, 1 second @ f16, ISO 200.

Then on Sunday with a scheduled day off and much better weather, I rose early and headed back to Virginia Beach to photograph the sunrise. Even though I was 100 yards from where I made the street photograph the previous day, it was a completely different scene. 

It was just me, a few surfers, and another photographer, so instead of the crowds and mayhem, it was just great light and the sounds of the surf.

I suppose I'll never settle on just one style or genre of photography. Why would I? After all, the only thing that seems to be affected by these ever-shifting genres is my Instagram numbers as those that followed me because they liked a landscape photo, unfollow as soon as I post a street scene. 

However, those are just numbers from mostly anonymous people. What matters to me, and keeps me shooting after all these years is the variety. So even if I never become known for a specific genre of photography, I am fully satisfied that I can come away with a decent photograph from any situation.

SAME LAKE - THREE DIFFERENT PHOTOGRAPHS

When I peered out of my tent at 4 a.m., I could see the stars. An hour later when I broke camp and headed to the lake, the stars were gone and the clouds were starting to build. There was some wind, however, it was blocked by the mountains, so the surface of the lake remained calm, allowing me to capture some nice reflections. A half hour after I took this photograph, the sky became a solid gray and it started to rain. No sunrise, but I still came away with a photograph. Fujifilm X-Pro2 with 16mm lens, 1 second @ f3.2, ISO 200.

I set out on an overnight backpacking trip to Avalanche Lake, located in the high peaks region of the Adirondacks in New York State, with the intention of capturing both a sunset and a sunrise photograph. What I ended up with was neither a sunset nor a sunrise, but I still came away with three photos that I'm proud to share.

The details. From the Adirondack Loj parking lot, located 16 miles from the town of Lake Placid, it is a 5.2-mile hike to the south end of the Avalanche Lake where I took the photographs. The first 2.3 miles to Marcy Dam and the next one mile are fairly easy. However, the next mile presents you with a 635-foot elevation change in order to reach Avalanche Pass before you descend a litte to the lake which sits nicely between Avalanche Mountain and Mount Colden.

I knew that I would not be able to capture the sunset unless I hiked back to the other side of the lake. and that wasn't going to happen. But the great late afternoon light coming from behind and skimming the tops of the mountains on either side of the lake added a nice warm color reflection and made the photograph. Fujifilm X-Pro2 with 16mm lens, 1/60 @ f11, ISO 800, Exp. Comp. -1.3.

The final part of the hike which brings you around the lake is the most challenging and demanding, especially with a full pack and camera gear. You will contend with boulders, ladders, and a very winding trail, but if you take your time, it is worth it. One of the neatest parts of this section is the two "Hitch-Up Matildas," or boardwalks, that are affixed to the sheer rock walls. 

While it is quite possible to do the round trip hike to Avalanche Lake in one day, it would be tough to do that, yet still be there early in the morning or late in the day, optimal times for taking photographs. So I recommend you bring a tent and plan on spending the night. There are some lean-tos closer to Marcy Dam, but that is still quite a hike. A nice tent area sits only about 100 yards from the South end of the lake.

At this end of the lake, there is plenty of debris, mostly logs, that has built up and makes for some interesting foregrounds. In this case, I switched to a vertical and used this large branch to lead you into the photograph. Converting to monochrome emphasizes the contrast between the warm wood and the cool lake. Fujifilm X-Pro2 with a 16mm lens, 1/60 @ f16, ISO 800, Exp. Comp. -0.3.

So in the end, even if I didn't capture a sunrise or a sunset, I was able to get three different looks of the same lake and it was all made possible because I made the overnight hike. Sometimes the effort put into the hike makes the photographs even better, even if only to the photographer.

PHOTOGRAPHING THREE WATERFALLS IN THREE DAYS

A tripod of some sorts is a must if you wish to convey movement in the water. One of the advantages of tree cover and shadows is that you can normally achieve this look without adding neutral density filters to your camera. Fallingwater Cascades is a 1.7 loop hike located in the Jefferson National Forest off of the Blue Ridge Parkway. Fuji x-Pro2 with 16MM. 1/1.7 @ f16, ISO 200, -0.3 exposure compensation.

I didn't set out to photograph waterfalls. In fact, I don't even get that thrilled about photographing waterfalls. Especially when it's the middle of the day in the summer. However, there are some advantages.

1. Many waterfalls are only a short hike from the road.

2. Since much of the light doesn't reach them, shooting in the middle of the day is normally not a problem. 

3. People seem to like when you show them photographs of waterfalls. Translates to plenty of likes on social media.

Light not great, lots of people, that's when you look for other angles. I noticed these leaves and how the strong mid-day sun made them pop. That same light also provided a nice rim light which separated the rock ledge from the background and also reflected off the water brightening the underside which kept it from going completely dark. Spruce Flats Falls is a 1.5 mile out and back hike located near the Great Smoky Mountains Institute at Treemont. Fuji X-Pro2 with 35MM. 1/100 @ f2.2, ISO 200.

There are also some disadvantages to photographing waterfalls.

1. Many waterfalls are only a short hike from the road.

2. Since much of the light doesn't reach the waterfall, there can be a wide exposure range between the light that does reach them and the shadows.

3. People not only like to see photographs of waterfalls, they also like to visit them. This normally happens about the same time you decide to photograph them.

You will need patience if you hope to capture a waterfall without people. Or you could embrace it and use people to add a splash of color and additional movement in the frame. Grotto Falls is a 2.6 mile out and back hike located outside Gatlinburg, Tenn., in the Great Smoky Mountains. Fuji X-Pro2 with 16MM. 

I actually photographed more than the three waterfalls in the three days, but after a while, they do all start to look the same.