Saturday, March 30, 2024

I Like Cameras, But . . .

Shaped logs on the beach at Madras, India

Blog Note: As it says in the fine print at the bottom of every blog post, "I post Monday, Wednesday, and Friday unless life gets in the way." Well, yesterday and today, life did get in the way, so I'm reposting a blog from 2020 that says some important things about my approach to photography.

I do like cameras. I like them a lot. But, relatively speaking, I don't write about them all that much. I'm told by photo-blogging friends that if I were to write about cameras more often I would have more readers. Many people want to read and learn about the latest and greatest in the camera world because they have bought into the lie that better cameras would make them better photographers. Unfortunately, that's not the way it works, because photography is not about cameras, but about life. What we do with our cameras if we are truly photographers and not just gadgeteers is record life as we see and experience it.

I may not have as many readers this way, but as I say in the introductory column to your left, I write the blog I would like to read if someone else were to write it.

So I would rather write about photography itself, rather than cameras. (Cameras are certainly necessary to do photography, but cameras themselves are not photography).

Or about life. Or about my life in photography. Cameras are the key that opened the door to this life, but they are not the life itself. Nonetheless, I owe those little tools big time. My cameras have taken me to many places I could never have gone and opened the door to many experiences I would never have had. So I'm grateful.

But when I write, I like to write, not about the cameras, but about the places they have taken me. And about the things they have made it possible for me to see and experience.

Because of my cameras, I was able to see fishermen come down to the city beach at Madras, India early in the morning to lash rough-hewn logs into a makeshift boat, launch it through the surf, and move out to a day's fishing.

With my cameras I have driven many thousands of miles to create books about the barns of Rock City and the backroads of Georgia. Although I lived in Georgia for 45 years, I did not realize just how much I loved the state until a stranger looked at my photographs and told me what he saw in them.

Perdue's Mill near Clarkesville, Georgia

Through my camera, I saw the setting sun throw a beam parallel to the ground and against the wall of a rural mission hospital in Nigeria, creating a scene of beauty and mystery.

Because of my cameras I was able to attend a worship service of the Underground Church in Moscow. Something few westerners have ever seen.

With my camera I watched Dr. Jaime Gomez dispense medicine and the Gospel to the people of a remote village in the mountains of northern Guatemala.

My cameras have given me access to a blessed, privileged life. But the credit does not go to the cameras, nor to me. The credit goes to a loving and supportive wife and to the One named in the line that appears at the bottom of this page and on every blog I post.

And now. . .a word about the cameras! Photos one, two, four, five, and six were made with Olympus OM film cameras and Fujichrome film. Photo number three was made with an Olympus E-M5 digital camera

Signed copies of my book Backroads and Byways of Georgia are available. The price is $22.95 plus $4.50 shipping. My PayPal address is djphoto@vol.com (which is also my email). Or you can mail me a check to 8943 Wesley Place, Knoxville, TN 37922. Include your address and tell me how you would like your book inscribed.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel film photography Olympus OM film cameras Olympus E-M5 digital camera Madras, India Perdue's Mill Nigeria Moscow, Russia Guatemala Fujichrome film

Wednesday, March 27, 2024

How to Keep Vertical Lines Vertical in Photographs: Number Three: Crop

The Queen Anne-style Meriwether County Courthouse in Greenville, GA was built in 1903.

I had to search through my files for a bit to find an example of cropping as a way to keep vertical lines vertical because I don't often need to use this technique.

It's simple, and similar to the one I wrote about in the previous post: back off or zoom out until the subject is positioned in the top of the frame with the camera level and the vertical lines vertical. Make the photo, then, if there's nothing interesting or significant in the foreground, in Photoshop or whatever program you use, crop off as much as you like to achieve the composition you want.

Actually, what I did here was turn the camera to make a photo in vertical format, lined it up so that the lines of the courthouse were vertical in the top part of the frame, then cropped off the bottom half. Below is what the courthouse looked like in the original photo before cropping. (I also cropped off a bit of the top.)

The courthouse before cropping.

This photograph, which was made for my limited edition book Georgia: A Backroads Portrait, is a good example of the cropping technique. It illustrates the point that the camera must be kept level so that vertical lines in the subject show as vertical lines in your viewfinder. Grid lines in your screen will be very helpful if you have them. Most recent digital cameras can be set to do this. In the days before digital cameras arrived, I installed screens with grid lines in all my film cameras.

I remember the first time I used this technique: it was very early in my professional career and I was given an assignment to photograph a three-story parking garage in downtown Chattanooga. I didn't, in those early days, have a 4x5-inch view camera, which would have been ideal for this kind of assignment; but I did have a medium-format Bronica with a Nikkor 50mm wide-angle lens which made a 2-1/4 X 2-1/4 negative; and that was enough to make a good-sized print. I put the camera on a tripod, leveled it, and made the shot. I cropped the negative in the enlarger, made the print, and the client was happy. At least, I suppose he was -- he paid me.

About the photo: Canon EOS 5D Classic digital camera, Canon EF 24-85mm lens.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel Perspective Control Bronica camera Nikkor lens Photoshop Meriwether County, Georgia Greenville, Georgia Georgia courthouses Canon EOS 5D Classic camera Canon EF 24-85mm lens

Monday, March 25, 2024

How to Keep Vertical Lines Vertical in Photographs: Number Two: Back Off

Rock City Barn RCB-TN-9. Highway 58, just south of Kingston, Tennessee.

Often the best way to keep vertical lines vertical in a photograph is simply to back off and find something interesting to fill the foreground while keeping the camera level and the lines of the subject vertical. We could use a zoom lens to accomplish the same effect. This is probably the technique I use most frequently. But it only works if there's something interesting in the foreground; something that tells us more about the main subject. Dead space with nothing of interest is only dead space.

Here's another example:

Lee and Gordon Mill on Chickamauga Creek, Chickamauga, Georgia.

In this photograph, the turbulent water and the edge of a gravel bar serve to tell us something about the mill's location, while enabling me to keep the camera level and the lines of the old mill vertical.

About the photos: The barn was photographed with a Canon EOS A2 with the EF 24-85mm lens on Fujichrome 100 film. For the mill, I used an Olympus E-M5 digital camera with a Panasonic Lumix G Vario 14-140mm lens. If you read the information I supply with most blog posts, you'll note that I use zoom lenses most of the time.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel photo techniques Rock City Barns old mills film photography Fujichrome film Canon EOS A2 camera Canon EF 24-85mm lens Olympus E-M5 digital camera Panasonic Lumix G Vario 14-140mm lens

Friday, March 22, 2024

Keeping Vertical Lines Vertical in Photographs: Number One: Use Software

What's wrong with this picture? (Macon County Courthouse, Oglethorpe, Georgia.)

Dave, a friend and fellow photographer and photo-blogger visited me recently. As we were looking through one of my books, he asked "How do you keep the vertical lines in your photos straight?"

Many photographers seem to have trouble keeping vertical lines vertical in their pictures. The problem is caused by pointing the camera up, even slightly, at a building or other vertical subject, and will cause the subject to appear to be leaning backward, like the courthouse above. I've seen quite a few of Dave's photographs and haven't noticed that he has as much of a problem with this as he thinks, but it is a common problem.

The Macon County Courthouse with correction applied with PTLens.

There are a number of ways to keep verticals vertical, so let's take a few posts to explore them. This, by the way, is part of what photographers call perspective control.

Solution # One: Do it with software. (Also called the "easy way out.") I don't have a current version of Photoshop, so I'm not sure, but I believe Photoshop now has a way you can do perspective control. You can also do it in various RAW converters, such as Capture One and DXO. I use a free, standalone program called PTLens to do perspective correction, and it works well for me, although maybe not as convenient as some other programs.

In any case, using software to correct perspective is kinda a last resort for me. I always try to get it right in the camera if I can. Sometimes I can't. We'll be talking about ways to get it right in the camera in future posts.

Meanwhile, here's another example of perspective correction with PTLens:

The Simmons-Bond Bread & Breakfast Inn, Toccoa, Georgia.

The Simmons-Bond B&B has a couple of problems: It's falling over backward, and it's too dark.

What did I do? I lightened the exposure with the Curves tool in Photoshop and corrected the perspective in PTLens. In fact, I think I may have over-corrected slightly, which is easy to do.

About the photos: Both were made with a Fuji X-H1 camera and the Fujicron XC 16-50mm lens.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel Toccoa, Georgia Macon County, Georgia Fuji X-H1 camera Fujicron XC 16-50mm lens Perspective Control RAW converters Photoshop Capture One DXO PTLens

Wednesday, March 20, 2024

Georgia Small Towns: Toccoa

The Neoclassical Revival Stephens County Courthouse in Toccoa was built in 1907-08.

The first time I saw Toccoa, I didn't actually see it. I came in the early dark of a winter evening and left in the dark.

I wasn't a bandit. I was a basketball player, and my college was playing Toccoa Falls College. This was in the late 1950s, and we played them on their court twice that I remember, traveling through the mountains from Chattanooga in a fleet of cars. There was no easy way to get there in those days.

The next time I came to Toccoa was in the late 80s, as a photographer making pictures for the college's promotional and student recruitment publications. I came again in 2016, again as a photographer, making pictures and gathering material for my book Backroads and Byways of Georgia.

And finally, we camped there in our RV on two different occasions in 2021 as I was working on the second edition of the Backroads book.

The Greek Revival Toccoa Presbyterian Church was built in 1925-26.

Perspective corrected with the PTLens plug-in.

All the above says more about me, of course, than it does about Toccoa, a pleasant, small city of about 9,000 in the mountains of far northeast Georgia, about 90 miles from Atlanta. It's in a beautiful, scenic, area, with the Tallulah Gorge only a few miles away and the waterfall right there on the edge of town.

Toccoa Falls. Nineteen feet higher than Niagara. But not as much water. Usually.

Everything is peaceful these days, but it wasn't always. Taking in the serene beauty of the setting, it's hard to grasp that this was once a scene of terror. In the early morning hours of November 6, 1976, five days of constant rain caused a rupture of the earthen dam that held a 40-acre lake above the falls, sending a wall of water surging through the campus, destroying much of the married students’ housing, killing 39 people, and injuring 60 more. Prayers, expressions of sympathy, and contributions to rebuild the campus poured in from all around the globe. Today, few signs of the physical damage remain and it's quite safe (and a worthwhile trip) to visit the falls. Admission is free. Call 706-886-7299 for hours.

About the photos: The courthouse was photographed with a Canon EOS 6D and Canon EF 28-105mm lens; the Presbyterian Church with a Fuji X-H1 and Fujicron XC 16-50mm lens, and the waterfall was photographed with an Olympus E-M5 and Panasonic Lumix G Vario 14-140mm lens.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel Stephens County, Georgia Toccoa, Georgia Toccoa Falls Toccoa Falls College Tallulah Gorge Canon EOS 6D Canon EF 28-105mm lens Fuji X-H1 Fujicron XC 16-50mm lens Olympus E-M5 Panasonic Lumix G Vario 14-140mm lens

Monday, March 18, 2024

My Post-Processing Technique

Ridgeway Baptist Church, Fannin County, Georgia. Built in 1865.

For 35 years most of my photographs were made with slide film. Shooting slides will teach you to get it right in the camera, because if you get it wrong, there isn't much you can do about it. One stop of underexposure can be corrected, but slides overexposed by a stop or more are usually a dead loss unless you're trying for some kind of ethereal effect. I work at metering accurately and getting the exposure right in the camera, because if I do that, there isn't much left to do in post-processing.

Digital files are different from film, of course, but even so, many of the same principles apply. My goal is always to do as little post-processing as possible. Here's how I work with digital files:

1. I have two major folders titled Professional Photography and Personal Photography. Under each major folder are many sub-folders titled by subject. I upload the files into my computer and into the major folders, creating new folders and sub-folders as necessary. Since I have my camera set to shoot both RAW and jpeg files simultaneously, each folder will contain both types of files. I edit the files and delete any I don't want to keep.

2. I then move the folder into a program called ACDSee and separate the RAW files from the jpegs by telling the program to sort the files by type. I move each type of file into sub-folders labeled, strangely enough, RAW and OoC (Out of Camera) Jpegs. I primarily work with jpegs, but keep the RAW files as backup. If a file is too poorly exposed or too off-color to be corrected as a jpeg, it can usually be corrected in the RAW conversion software (I use Capture One) and output as a jpeg, which goes into another sub-folder labeled Processed Jpegs.

3. If the jpeg files need any further work, I open them in Photoshop. I have a very old version (CS-2), but it does everything I need it to do.

My primary tool in Photoshop is Curves. With Curves, I can make small corrections in exposure and color balance. If a file needs more correction than I can make in Curves, I should have corrected it in the RAW conversion software before it got to this point.

Other tools I use frequently in Photoshop are the Brush tool and the Crop tool. The Brush tool enables me to darken or lighten specific areas of the picture, just like burning and dodging in the darkroom. The Crop tool, obviously, is used to crop the picture to best effect when I didn't (or couldn't) get it framed just right in the camera.

One other tool I use on most of my photographs is an Unsharp Masking enhancement that improves the internal contrast of a file without affecting the very lightest and darkest areas. To use it, open a file, click on Filter/Sharpen/Unsharp Mask. Set the Amount to 20%, the Radius to 60 pixels, and the Threshold to 0. It adds a bit of sparkle, and I think you'll like the effect on most of your files. I have it set up as a preset so I can apply it easily and quickly when I want to.

So that's basically what I do. It isn't very complicated, and it gives me files I'm happy with. My guiding principal is to do only what could have been done in a darkroom. YMMV.

Ridgeway Baptist Church before post-processing.

Here's the way the church looked before processing in Photoshop. What did I do? First, the church was about a stop too light, so I darkened it using Curves. The gravel at the bottom, the left side, the roof, and the foliage in the upper left were still too bright, so I used the Brush tool set to 30% to burn them in and used the Unsharp Mask preset to add a bit of mid-tone contrast. Finally, I lightened the sign a bit with the Brush tool and used the Select tool to isolate the sign and applied the Unsharp Mask tool to just the sign to make it more readable. That's all. Most of what I did could have been done in a darkroom.

I bought my first digital camera, a Canon 10D, in 2003. At a price of $3,000, I had to sell some very good film cameras in order to buy it. And then, at the age of 63, I began teaching myself Photoshop. I didn't like it much then and I don't like it much now. And I am terminally sick of learning new software! That's why I don't upgrade software unless I have to. And since I can do what I want to do with what I have, why bother? (End of rant.)

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography film photography slide film Capture One Photoshop ACDSee Canon EOS 10D Photoshop techniques Fannin County, Georgia

Thursday, March 14, 2024

The Three Most Important Skills in Photography

Bottoms Up! Berry College campus, 1981.

My friend and fellow photographer and photo-blogger Dennis Mook has written a post in which he suggests that the most important skills in photography today are the ability to set up the camera properly and proficiency in using software. You can read his blog here.

In fact, if you're interested in photography you should read his blog regularly. He's an accomplished photographer with a great eye and lives in an area where there are many photo-subjects that appeal to me. I often find myself thinking "I wish I had made that shot!"

I greatly respect Dennis, and it is with respect that I disagree with him about the most important skills in photography today. I believe the most important skills in photography are three, and that they are the same they have always been since the dawning of the art.

They are selection, composition, and exposure.

Select. Choose a subject. Whatever it may be. Whatever appeals to you for any reason, whether scene, object, or person. Nothing happens until you choose a subject. Although you could, of course, just point your camera at random and pick your subject out of the medley afterwards. It's been done. In fact, that's what most street photography I see looks like. But even that is choosing a subject.

Compose. Arrange your viewfinder frame around your chosen subject in the way that most appeals to you. Notice that I didn't say "arrange your subject within the frame." You can only do that if the subject is mobile and will move, or can be moved, at your direction. If it's not, you have to arrange the frame around the subject. Also, composition includes preliminary thoughts about depth of field. Should it be shallow or deep?

Expose. Set the aperture to provide the depth of field you choose, whether shallow or deep. Choose a shutter speed that works with the aperture to give proper exposure, whether you wish to stop action or to let it blur. Select an ISO (we used to call it film speed) that will cover your aperture and shutter speed settings. Then take the picture.

This is all much simpler and quicker than it sounds. If you're out looking for pictures, you will probably already have your aperture, shutter speed, and ISO set within range so that few or no adjustments need to be made as you bring the camera to your eye.

Yes, the camera can do all your exposure settings for you automatically. But do you want it to? The camera makers tell us that they design the camera to do all the exposure settings for us so that we can concentrate on the subject without thinking about technical details. That's a lie. Making decisions about technical details is an integral part of the creative picture-making process. As the great Fritz Henle, master of the Rolleiflex, said, "...seeing pictures is always tied up with technique...it is important to decide things like sharpness or unsharpness and not let them happen accidentally. It is equally important to command the techniques that get the effects you want."

So, do I do any post-processing of my pictures? Yes I do. But my goal is always to get it right in the camera and spend as little time as possible on the computer. We'll talk about my post-processing techniques next time.

About the picture: The picture of the swans on the pond on the campus of Berry College was a quick grab-shot made while I was working on a book about the city of Rome, Georgia. Loaded with Ektachrome film and with the 85mm Zuiko f2 lens attached, my Olympus OM camera was set for the prevailing light conditions. All I had to do was raise the camera to my eye, compose the photo, and shoot. I usually try to apply the "rule of thirds" to my compositions when appropriate, and in this case I did place the swans about a third of the way from the right edge of the frame. However, instead of placing them a third of the way up from the bottom, I placed them in the center because I felt the reflections at the bottom of the picture were an important part of the composition.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel Rome, Georgia Berry College swans Olympus OM film cameras Olympus Zuiko lenses Ektachrome film photography techniques

Monday, March 11, 2024

Some F.O.R.D Favorites from the West

A 1932 Studebaker marks the original alignment of Route 66.

I think I'll post a few more of my favorite Found On Road Dead photos, then we'll move on to some technical/aesthetic photography subjects.

On our RV trip west in 2018, one of the many interesting places we visited was the Petrified Forest National Park. (You can read the entire series of 19 posts beginning here.)

At the point where the original alignment of U.S. Highway 66 -the historic Route 66, fabled in songs and movies -- crosses the park road, I found something unique for my Found on Road Dead: An Anthology of Abandoned Automobiles book project. It was the weathered hulk of a 1932 Studebaker, marking the route used by millions of Los Angeles-Chicago travelers from 1926 to 1958.

Heading East.

1959 Edsel. U.S. Highway 89, Utah.

Here's another one from our trip west: A 1959 Edsel, found in a junkyard along U.S. Highway 89 not far from Bryce Canyon National Park. I have a special affinity for Edsels, because Louise's mother drove one for years. When we first started dating I was car-less, so some of our first dates were in an Edsel like this one.

We had a good visit with Louise's older sister in Orlando and were able also to see a few friends, but, sorry to say, I didn't get any blogging done.

Photos: All photos in this post were made with a Fuji X-Pro1 and the Fujinon XF 27mm f2.8 lens. A combination that never fails to give great results, and that I should use much more often than I do.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel old cars Utah U.S. Highway 89 Route 66 Petrified Forest National Park Fuji X-Pro1 Fujinon XF 27mm lens 1959 Edsel 1932 Studebaker

Monday, March 4, 2024

More F.O.R.D.

Late 1930s Hudson Terraplane near Silverville, Indiana.

I thought this would be a good time to post a few more selections from my Found On Road Dead collection, otherwise known as "An Anthology of Abandoned Automobiles." (Notice how I included the AAA in there?)

The top picture is a rare find: a late 1930's Hudson Terraplane moldering away on the edge of some woods near the nearly extinct village of Silverville in Lawrence County, Indiana, just a few miles from the farm where I grew up. The Terraplane was considered to have very advanced streamlining for its day. I photographed it in 2014 with an Olympus E-M5 digital camera fitted with a Panasonic Lumix G.Vario II 14-140mm lens. (Probably the handiest lens I've ever owned.)

1947(?) Ford pickup, Keith Road, Catoosa County, Georgia.

The old Ford pickup was photographed along Keith Road in north Georgia's Catoosa County. I have no record of the date, but it would have been in the late 1970s. I think this was a 1947 Ford, but it may have been earlier. The camera was probably a Nikkormat with a 28mm Tamron f2.5 lens. (Can't be totally sure, since this was around the time I switched from Nikon to Olympus.) I am pretty sure the film was Kodachrome 64.

1970s Chevy pickup, Meriwether County, Georgia.

I found the old Chevy pickup rusting its life away on Georgia Highway 109 Spur in Meriwether County in west central Georgia in 2010 and photographed it with a Canon 5D Classic and the Canon EF 24-85mm lens. I hope you like my old cars and trucks.

Louise and I will be going to Florida next week to visit friends, and most especially, her 94-year-old sister, who still lives by herself. I'm not sure how much time I will have to work on the blog, so if you don't hear from me, don't worry. I'm well and having fun.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography film photography travel` Georgia Indiana Olympus E-M5 digital camera Panasonic Lumix G.Vario II 14-140mm lens Nikkormat film camera 28mm Tamron f2.5 lens Kodachrome 64 film Canon 5D Classic Canon EF 24-85mm lens

Friday, March 1, 2024

Found On Road Dead

Abandoned Thunderbird, Frick's Gap Road, Walker County, Georgia.

In keeping with my penchant for photographing old and abandoned things, I've been collecting photographs of abandoned cars for more than 30 years. I'd like to do a book of them, but who knows if that will happen? I'm not sure it would even be possible, because some years ago I lost Travel Notebook #3, which covered my travels from about 1999 to around 2012 and contained all my information about locations, etc.

Notebooks #1 and #2 have Rock City barns info and also have notes about the old cars I came across while working on the barn project, but I photographed a lot of cars in the first decade of this century for which I have no records.

"White Trash." U.S. Highway 27, Rhea County, Tennessee.

The abandoned early '70s Thunderbird was photographed on a friend's farm in northwest Georgia's McLemore Cove. I'm not sure what year it was, but I think they sold the place before 2000. Also, the photo was made on black & white film, which I did not use after 2003.

The second photo I call "White Trash." I don't mean that as a reflection on the people who once lived there; just that, through whatever circumstances, their possessions had been left to crumble away into trash. Very likely some old person had died or been taken to a nursing home, leaving their house and car to rot and rust away. You see this a lot in rural areas.

This photo was made while I was working on the Rock City Barns book; probably in 1995, so I would have been using a Canon EOS A2 camera. I most likely used the same camera for the Thunderbird photo and the flower truck below.

Flower Truck. Maui, Hawaii.

The early '50s Ford "Flower Truck" was photographed while on a trip to Hawaii in 1996. I think we were on Maui at the time. We were on vacation, so I didn't keep a travel notebook. That was a lapse on my part, because a serious photographer is never really off duty.

Check out the pictures at my online gallery: https://davejenkins.pixels.com/ Looking is free, and you might find something you like.

I post Monday, Wednesday, and Friday unless life gets in the way.

Soli Gloria Deo -- For the glory of God alone.

Tags: photography travel` Hawaii Maui black and white film Canon EOS A2 camera old cars

This blog is about photography, about life, and about my life in photography. I write about the tools, techniques, and philosophy of photography, about some of the things that happen in my life, and whatever else crosses my mind. I write the blog I would like to read, if someone else were writing it. My domain is the old, the odd, and the ordinary; the beautiful, the abandoned, and the about to vanish away. I am a visual historian of an earlier America and a recorder of the interface between man and nature; a keeper of vanishing ways of life.

Photographs and text © 2011-2024 David B. Jenkins