I’ve been meaning to write a handful of blog posts but I’ve been getting completely distracted by things. In no particular order, the following has happened since the time I made the last blog post:
- I bought the 35mm 1.8 lens
- My first major photography job
- I attended another taping of Strombo, featuring Mike Holmes
- I paparazzo’d Rob Ford and his brother Doug at Ryerson
- My photos have been published online several more times (Publish count: 7)
- I rode the classic PCC car on Kingston Rd last weekend
- Finished off the modeling for my Tripod Dolly
- Spring arrived, finally, and it feels great.
I’ve been using the 35mm exclusively since I bought it and it’s a great lens. You can see some of my results on my Flickr. The kit lens simply can’t match its bokeh. And where the kit lens struggled big time (low light sports), the 35 shines. I have no desire to go back to the kit, even though 35 is too wide for a lot of construction photography I do; I try and do as much as I can on-camera in terms of framing and composition, and that’s been a lot harder to do without being able to zoom. There’s many situations when you just can’t get closer, and that’s translated to more work in post. All the more reason to get that 70-200 f2.8.
Without going into a thousand word diatribe, here are some miscellaneous thoughts about the eight things I listed. 1930s-era control systems were terrible and jerky as hell, but damn if that streetcar wasn’t classy 100% of the way. The guys sitting behind me on the thing knew every single pedantic detail of New York City rolling stock which was very unsettling. What’s the difference between an R142, R142A, and an R188? Apparently enough to talk about for six minutes. Sitting and having a massive window open while cruising down the street and having the warm air hit your face was like getting fresh batteries. Projectors still suck hard even at the commercial level, and this delayed taping by almost an hour because one that adds the background to the stage crapped out. Mike Holmes is 50, a grandfather, and wants to do a “Buy it Right” TV series. People think you’re a professional if you’ve got a nice camera, lens and flash, and this lets you get into places as media that you forgot to register for. Nikon’s battery manager must’ve been written by the same guy who did the file transfer dialog for Microsoft, because it displayed 2/3rds full then complained empty after one shot. 3DSmax is a huge pain to revise a drawing in if you goof the outer diameter of the pipe you bought. Printing with the Objet costs something like $140 per pound. It’s much cheaper to print with Salmon Caviar than Objet. Stick with the Makerbot. Rob Ford really is that red in real life.