Places: Babcock State Park, West Virginia
**Please note that we will add more images from this show as time permits.
HURT
**Please note that we will add more images from this show as time permits.
I should have been in Louisville, Kentucky, this night, reporting on my good friends in Stereoside (there’s an interesting story associated with that as well); instead, my friend and fellow shutterbug, Shannon Lindsay from MUEN Magazine, asked whether I would like to cover a band from Virginia called Hurt; of course, I seized the opportunity, we were heading to Johnson City, TN, to a club called Capone’s.
**Please note that we will add more images from this show as time permits.
Megadeth: 2009 Endgame Tour
A few interesting stories came about when I covered the 2009 Megadeth Endgame tour stop in Knoxville, Tennessee, at the well-known Velarium. Megadeth headlined the show, with Machine Head and Suicide Silence as the opening acts.
A few interesting stories came about when I covered the 2009 Megadeth Endgame tour stop in Knoxville, Tennessee, at the well-known Velarium. Megadeth headlined the show, with Machine Head and Suicide Silence as the opening acts.
The Knoxville show was scheduled for November 22, but I rushed to request credentials on the 19th. Usually, you should ask for access at least a week in advance, so I knew I might get turned down. My main contact at Roadrunner Records, Megadeth's label, helped me get approved to cover Megadeth—just in time.
On the day of the show, I got to the venue just in time to cover Megadeth, despite my time constraints. I was disappointed, but I was alright with it.
The press pit usually runs along the stage and is about four feet wide in small clubs, sometimes even less. For Megadeth, though, the center of the pit was filled with some of the band’s equipment, so I couldn’t move around to get different shots. I thought I knew that Dave Mustaine almost always sang facing his left, but I ended up on his right and couldn’t switch sides in time. I made the best of it and, once again, tried not to stress.
There were about four or five photographers in the pit, and I recognized a couple as locals. We each found a small spot to work from, hoping to get the best shots we could. There’s one thing I’ve never understood—it happens at a lot of concerts. Some women feel the urge to pull up their shirts and expose themselves to everyone nearby. This happened to me and one of the local photographers while we waited for the show to start. A young woman behind us tapped the local guy on the shoulder. He turned around, she gave him a big grin and said hello, then did the same to me. I guess she wanted more attention, because she tapped us both again on the shoulder, and when we turned around, she lifted her shirt to her chin with a huge smile. We weren’t shocked or offended; we just laughed loudly and turned back around. Then the show began.
At most events I photographed, the rules were always the same: shoot for three songs, no flash, then you were finished. Usually, someone would lead you off the main floor to leave the venue. Sometimes, you could store your gear in the main office and stay to enjoy the rest of the show. This time, when we were escorted out of the photo pit, none of that happened. Security just let us walk around the edge of the crowd, so I did. I even made my way to the middle of the crowd, on Dave’s left side, and managed to get some better photos. It turned out to be an amazing evening.
Adobe Firefly 5: My New AI Assistant
As our creative methods evolve, many digital photographers are worried about the rise of AI. This situation is similar to what traditional painters faced in 1839: The solution is to adapt and grow, or risk being left behind. The reality is that AI, even as a tool to help photographers, is here to stay.
Recently, I asked a pressing question to two dear friends of mine, Ellen, an accomplished painter, and her husband Chris, an avid photographer. The question had been eating at me for some time: when does a photograph lose its originality and become more of an AI illustration, and when does it truly remain a photograph with AI editing assistance? Both had similar questions as I did, so I went online in search of answers.
Most articles I read appeared to divide the field into AI-generated images and AI-assisted images. Since AI-generated is pretty much self-explanatory, I want to concentrate on AI-assisted images.
The images below of Tyler Connolly of Theory of a Deadman are a clear example I deem “assisted.” Top left is the original from 2011, followed by an edit I did in Photoshop the following year. Dodging and burning, along with some exposure adjustments, gave the image a new dynamic, especially in the mist and fog surrounding the artist. Notice, too, that I eliminated the microphone stand with Photoshop, as it was a distraction. In the bottom images, I removed the mic stand again and used Adobe Firefly to add more punch by eliminating the blue cast and crunching the pixels for a sharper, more defined image. AI assist also let me make the mist and fog more defined. Finally, masking areas in Lightroom and editing them gave the image a more appealing overall look.
I have a ton of concert images where color lights dominated each band’s set, and I have a lot of image files that may seem unusable—until now. I used Adobe Lightroom CC to remove color cast with the temperature and tint sliders, along with the white balance selector, to adjust the image to a more pleasing rendition of a band or artist.
Using AI-assisted tools such as Topaz AI Denoise, AI Sharpen, Gigapixel, or even Adobe Firefly, I'm taking a lot of the heavy lifting out of the equation; I can now focus on the smaller details with masking in Lightroom to get a better image. I’ve been an artist longer than I have been a photographer; I have used all kinds of tools and push-button apps to achieve certain outcomes in an image. Not all worked, and then again some were over-processed. Below is another AI-assisted image, this time of Mark Morton of Lamb of God. I am really fond of the one on the left, which was processed through Adobe Camera RAW. I thought I’d remove the red color cast from the image to show how AI-assisted tools have a place in my workflow; it gave me a choice.
Just remember that when photography debuted in 1839, painters reacted with despair, panic, and hostility. French painter Paul Delaroche declared “from today painting is dead,” while English romantic painter J.M.W. Turner called it the end of art. Same as when digital photography made its debut, purists of the film and darkroom age felt the same as the painters did when photography came around.
As our creative methods evolve, many digital photographers are worried about the rise of AI. This situation is similar to what traditional painters faced in 1839: The solution is to adapt and grow, or risk being left behind. The reality is that AI, even as a tool to help photographers, is here to stay.
Galgano Records Distributors: 1991
We were one of the largest music distributors in the Midwest. Everyone I worked with knew all the artists’ catalog numbers and their labels by heart. We were all good at our jobs.
Galgano Records, 4001 North Ravenswood Avenue,
The last place I remember Galgano Records being located was at 4001 North Ravenswood Avenue in Chicago. Right at the corner of Irving Park Road and Ravenswood Avenue. We occupied the entire first floor, and hardly anyone else used the building. For nostalgia, the first spot I remember was at 4125 West Armitage Avenue back in the 1970s; it was located on a whole city block between Kedvale and Keller on Chicago’s west side. I worked there after school and spent my summers working full-time.
The group I remember best is the one from Ravenswood Avenue. We felt like family. Our company picnics were always held at John Galgano Senior’s summer home in Lake Geneva, Wisconsin, and they were big events.
We were one of the largest music distributors in the Midwest. Everyone I worked with knew all the artists’ catalog numbers and their labels by heart. We were all good at our jobs.
We had tons of record release parties, concerts, and promotional vinyl and CD’s weeks before the official release dates. I spent plenty of time backstage, hanging with people from the record label and with band members. It was always business, never any nonsense—I promise (fingers crossed).. These kinds of events inspired me to get into music photography. In fact, my boss’s son, John Galgano Jr., offered to buy me my first camera, a used Pentax Z10n with three lenses, in 1991.
John Galgano Jr.
James Galgano
Maria
Suzie
Doug Morris
Paul
Brian
Paul Steinbrunner: Mr. Rolling Stones Catalog
Jennifer
Rick
John Vaughn
Esme: A Celebration of Life
Esme is home…….
Esme is Home
A photo collection of our little girl
Esme and Rascal (left) crossed the rainbow bridge on October 6th, 2021.
Esme 2010 - 2026
We miss her deeply. Even through our tears, we are finding comfort in memories, photos, and the kind words from friends and family. Thank you for being there for her. Sending much love and light to everyone.
On Friday, May 22nd, we said our final goodbye to our 16-year-old dachshund. Esme; She never fully recovered from her back surgery eight years ago. As she aged, she lost muscle in her back legs, and over the past year, we noticed her losing weight, especially in her face. Her health had been getting worse for a while. Our vet told us it was time, and we agreed. Esme received a sedative at 9:43 am, followed by her last shot a few minutes later. She crossed the rainbow bridge at 9:58 am.
We miss her deeply. Even through our tears, we are finding comfort in memories, photos, and the kind words from friends and family. Thank you for being there for her. Sending much love and light to everyone.
Thursday, May 21, 2026:
The Day Before: The Photoshoot.
My wife asked me to take some photos of Esme before her vet appointment the next day. I wanted to make it special for her, since she has brought us so much happiness. I set up both my backdrops, studio lights, gels, and my Nikon D800 with the 85mm lens for a classic photoshoot.
We set everything up in the living room, grabbed her favorite blanket and lots of treats, and got started. Esme was more willing to sit for this session than ever before. Like with kids, you have to guide them into place and use those brief moments when they pause to snap a photo.
While editing the photos, I noticed that even a small tilt of her head showed how much gray had appeared on her face and legs. I checked my iPhone to compare how the gray patches looked.
After the session, Esme got her own Ribeye steak with homemade fresh-cut French fries. For dessert, she enjoyed a 'we have Starbucks at home' pup cup.
My wife and I were very happy with the final images. They are a last tribute to an amazing little girl who overcame back surgery and kept bringing us joy until the end.
Story Three: Minor Photo Restoration(s)....Why Not
This project turned out to be quite interesting! It involved an old transparency film image she captured with her iPhone………
Story Three:
A friend of mine reached out, wondering if I could help with an image of her late father. She had snapped a picture of it with her phone before her sister brought it back home.
This project turned out to be quite interesting! It involved an old transparency film image she captured with her iPhone and sent to me in a text. The quality wasn’t the best, and the harsh shadows made it really tough to get any detail in his face. Talk about a bit of a challenge!
I happily decided to take it on, but I let her know upfront that I couldn’t promise anything amazing, especially since my restoration skills are pretty limited. Mostly, I work with color correction and enhancing images using Topaz Gigapixel AI.
In the end, she was really happy with how it turned out, even if the original picture didn't have much detail to begin with. It was great to help!
Story Two: Minor Photo Restoration(s)....Why Not
The original photo was 4x6, but the largest I could make the final print was 8x10. My in-laws didn’t mind and were happy to see their image restored.
Story Two:
My in-laws asked if I could bring out more detail and color in a dark snapshot. I used Topaz Gigapixel to sharpen the image before editing it in Adobe Lightroom Classic. For the final print, I used Photoshop’s High Pass filter and Liquify tool to add some punch and fix areas that Gigapixel AI had distorted.
The original photo was 4x6, but the largest I could make the final print was 8x10. My in-laws didn’t mind and were happy to see their image restored.
Below, the top image is the original from my in-laws, and the other is my final edit. I printed them using a Canon imagePROGRAF 1100 on Canon Pro Luster 260 GSM 8x10 paper and Moab Entrada Rag Bright 300 GSM 5x7 paper.
Moab Entrada Rag Bright 300gsm Paper
I've often been advised not to put all my eggs in one basket, which led me to explore another fine art paper option from Moab Paper. I reached this decision after searching for papers similar to my usual choice,
I've often been advised not to put all my eggs in one basket, which led me to explore another fine art paper option from Moab Paper. I reached this decision after searching for papers similar to my usual choice, Hahnemühle William Turner paper, and discovering Moab Entrada. Both papers share a similar texture, but in terms of feel, the Hahnemühle William Turner stands out as the clear winner.
The Hahnemühle has a weight of 310 GSM, while the Entrada weighs in at 300 GSM, which isn’t a significant difference. However, the surface of the Hahnemühle felt a bit coarser than the Moab Entrada, which is somewhat smoother but not as soft as a Baryta paper. It still retains a nice texture. In terms of detail and shadow reproduction, both papers excel, as they are made from 100% cotton and are both archival and acid-free.
Since this was my first time printing my own work, I felt my initial impressions might have been a bit overly optimistic. I decided to step back from the Moab Entrada and revisit it later with fresh eyes to truly appreciate the final product—not only for its applications in art and photography but also for its pricing. The Hahnemühle costs $6.30 per sheet, while the Moab Entrada is priced more affordably at $4.65 per sheet, providing some budget flexibility.
Below Left: 1. Babcock State Park, WV, 2. Restoration for my In-Laws, 3. John 5 (Rob Zombie), 4. Our Wedding Photo, My Wife-Her Mother, and Brother (photo by my good friend Sheena Pendley Design & Photography), 5. My Wife and Her Late Sister Mary (Kathy).
Hahnemühle Fine Art Paper: William Turner Paper and Museum Etching Paper Comparison
The two contenders for the paper I planned to use were both from a Hahnemühle sample pack I purchased from B&H Photo a few months earlier. While I won’t claim to know everything about fine art papers, I want to express how excited I was with the final results I achieved
In my last blog entry, I revisited an image I created over a decade ago. While I used Adobe Lightroom to finalize the image, I also utilized Topaz Gigapixel and Photoshop Generative AI to enhance the detail by tightening and sharpening the pixels. These tools helped me achieve a more painterly, detailed, and visually appealing final result.
The two contenders for the paper I planned to use were both from a Hahnemühle sample pack I purchased from B&H Photo a few months earlier. While I won’t claim to know everything about fine art papers, I want to express how excited I was with the final results I achieved using Hahnemühle Museum Etching paper and William Turner paper. Both are excellent fine art papers made from 100% cotton rag, with one key difference: their weight. The Museum Etching paper weighs in at 350 gsm, while the William Turner paper is 310 gsm.
Below is the Museum Etching paper on the left and the William Turner paper on the right. After a thorough comparison, the William Turner paper had the appropriate contrast; it retained detail and depth in dark and shadowy areas and allowed the colors in the image to stand out more than in the Museum Etching paper, as shown in the pictures below. It emerged as the clear winner for me. I did a black-and-white to be sure of my final decision.
First Impressions: Hahnemühle Fine Art Papers
We have loaded new inks into our Canon Pro-1100 and replaced the maintenance cartridge. Now it's time to do some test prints.
First, I prepared the 2 images for print. These photos were taken with the LG G5 for the flower and the iPhone XS Max for the town image between 2016 and 2020. Their file sizes were between 1.4 and 2 megabytes. So to rid the images of any pixelation I used Topaz Gigapixel to enhance them for enlargements, which increased their sizes to about 30 and 45 megabytes. After that, I edited the images in Adobe Lightroom and Capture One.
I chose to test Hahnemühle fine art papers, focusing on their textured and Baryta stock. I picked Hahnemühle because it is one of the oldest paper companies, and its reputation among my peers influenced my decision. I bought four sample packs, each containing two sheets of each paper type. So far, I have tried three of the papers, and I'm impressed with the results. The first prints featured a flower on a steel table. I printed a large 17x22 image on Canon Pro Luster paper as my reference. The two 8.5x11 images were printed on Hahnemühle Fine Art Baryta gsm 300 with a satin finish. This paper is thicker than I am used to; it feels like cardstock. It held together well, especially in the blacks and shadows.
Next, I decided to try the Hahnemühle 13x19 papers, specifically choosing the matte fine art/textured option. The decision wasn’t straightforward, as each paper had a watercolor surface made of 100% cotton, which produced similar whiteness in the images, ranging from 87% to 88.5%. The difference was not significant. I narrowed my choices down to the William Turner and the Museum Etching paper, ultimately selecting the Museum Etching paper for this round. I have to admit that when I first held my image printed on this paper, I felt somewhat withdrawn. The colors appeared muted, and the blacks seemed muddy. I had to come to terms with the fact that this was my first experience seeing my work on a paper that wasn’t a luster finish, and I am still learning how to print my images at home. After a couple of days of observing my image from a distance and up close, using my loupe to carefully examine different parts, I began to appreciate what this paper had to offer. In the end, it won me over.
Now that I had tested the Hahnemühle Baryta and the Museum Etching paper, it was time to test one that was close to the Canon Pro Luster paper, but not a luster paper, if that even makes sense. I printed my target image on the Canon paper, as I did with the flower image. Then I looked at what the next sample pack had to offer; there were 2 types of the matte fiber papers, a glossy, a luster, and lastly a pearl surface. I went with the Hahnemühle Pearl, and let me say, it knocked me out. I found something special in this paper. I was drawn to the overall look of the image, with its bright whites and exceptional shadow retention. This was going to be my go-to fine art paper for this surface. The only thing I would want to test and compare is Red River's Arctic White paper.
Self-printing has been an incredibly rewarding experience for me since I started printing my images at home since April. I'm eager to experiment with several more sample papers from Hahnemühle, and I can't wait to share the outstanding results.
Here’s a link to the Hahnemuhle sample packs that B&H Photo offers.
Above (L-R) (8.5×11) Hahnmühle Fine Art Baryta Satin 300 gsm , (17×22) Canon Pro Luster 260 gsm
Below (L-R) Hahnmühle Museum Etching 350 gsm, Hahnemühle Pearl 310 gsm , Canon Pro Luster 260 gsm
Left: Hahnemühle Museum Etching Paper 350 gsm Right: Hahnemühle Pearl 310 gsm
Part 3: Canon imageprograf Pro-1100, 90 Days Later
It’s been approximately three months since we purchased the Canon Pro-1100 printer, and during that time, we have experienced several power outages—three within the last two weeks of June alone. Two things that the printer does not handle well are being powered off and power outages
I bought the Canon Pro-1100 printer three months ago. Since then, I've faced several power outages—three in the last two weeks of June. The printer doesn't handle power loss well. When the power goes out, it automatically cleans itself and uses a lot of ink, sending it to the maintenance cartridges. After the first outage, I noticed that my Chroma Optimizer (CO) was low, but I ordered a replacement without worrying. The second outage affected my Photo Black (PBK) ink. Instead of ordering a new cartridge right away, I decided to see how long I could print with it being nearly empty. After the third outage, I realized I had critical ink levels for all my colors, and the maintenance cartridge was almost complete.
I ended up going back to B&H to order the other 11 inks and a maintenance cartridge. I also started looking into battery backup units from APC and CyberPower to avoid future problems. With so many choices, I chose the APC 1350VA battery backup for our printer. It's an 810-watt unit, which may be more than I need, but I thought it was better to have extra power. Since the last outage on June 23, I discovered from the Canon forums that when this printer is in standby mode, it draws 1.1 watts of power. I feel prepared for whatever comes next.
Final Thoughts
I have printed around a dozen 13x19 prints using the original ink that came with my printer, and it is still functioning well despite the critical ink levels. I have new ink cartridges on standby, along with a new maintenance cartridge.
On days when I don't print, I still perform a nozzle check, a tip I learned from Jtoolman's Photo Printing Techie and Keith Cooper's YouTube channels. Keeping the printer on helps prevent the deep cleaning cycles that waste ink. A safeguard would be investing in a battery backup; you won't regret it.
After using this printer for more than 90 days, I'm happy with it. The deep blacks and vibrant colors caught my attention, as well as the 17" wide prints. There's something special about holding your work in your hands; it feels equally as satisfying as seeing the images before editing. I'm also considering gathering a group for a portrait project that combines film and digital photography. I want to provide my clients with enlargements of their sessions, and the Canon Pro-1100 will help me achieve that.
Randomness, Dragonfly on a wall. shot with my iPhone 14 Pro Max
Friend’s wedding, Nikon D200
Randomness, Sony 7RII w/135mm G master
Shot with a Nikon D800.
This is me around 1975 (Chicago) , Nisei Ambassadors drum and bugle corp. taken by staff.
John 5, Mayhem fest in Raleigh, NC, Nikon D200
Part 2: Canon imageprograf Pro-1100
Now that the printer was still securely stored in the box, I found myself needing to order something with the appropriate width and depth that would allow it to sit on top of it comfortably. Although several options I explored online were aesthetically pleasing and well-designed, they didn’t seem practical for the specific purpose
Now that the printer was still securely stored in the box, I found myself needing to order something with the appropriate width and depth that would allow it to sit on top of it comfortably. Although several options I explored online were aesthetically pleasing and well-designed, they didn’t seem practical for the specific purpose I had in mind. After deliberating, it took another two weeks to order and receive the shelving unit successfully. Upon its arrival, I was genuinely delighted and relieved, as I was also able to neatly organize a lot of my gear on it, which made everything feel much more organized. One amusing aspect I stumbled upon was some of the videos I had seen of others who were taking their printers out of the box; they removed the bag that the printer was packed in and just lifted it out. However, I found the easiest way for me was to carefully use the sturdy handles of the bag to lift it out smoothly. Trust me, I only lifted it by the handles a few inches before moving it to the shelves, as I had my trust issues with such delicate equipment.
Setup and test prints (uncalibrated).
Calibrating my monitors, Troubleshooting the Wifi connection & more printing
The two YouTubers who significantly influenced my decision to start printing were Keith Cooper and JToolman Rodriguiz. They each provide a mountain of valuable information on their respective channels that covers printers, printing techniques, and calibration processes thoroughly. I will leave a link to their channels at the bottom of this page for anyone interested in exploring their content further.
Now, whenever the subject of calibrating my monitors comes up in conversation, I have always approached traditional color calibration as a task that my eyes can manage effectively without relying on the conventional methods and tools offered by companies like Datacolor or Calibrite. However, I must admit, I was ever so wrong in that assumption. It truly was an eye-opening experience seeing how off I was in my past edits.
Initial setup and print jobs were intended to be conducted wirelessly. Late in April, a strong thunderstorm rolled through our area, and as a result, we lost power. I didn’t think much of it at the time; after all, we’ve experienced power outages before, and I was confident that it would be restored shortly. Eventually, power was restored, and we were able to enjoy our gadgets once again, thanks to our internet service provider, Optimum. However, I soon realized that everything had returned to normal except for one significant issue: it was the first time I encountered a problem with the printer connection since setting up the Wi-Fi connection.
We were paying for the high-speed connection, as it was their best package available, and I expected nothing but optimal performance. I was trying to print using Canon’s Professional Print and Layout tool, which clearly indicated that the printer was recognizing the assigned IP address. However, to my surprise, I discovered through the printer’s utility program, “Canon Wi-Fi Connection Assistant,” that the printer was receiving only between 54-56% signal strength via Wi-Fi. It was no wonder I was unable to complete my print jobs; the link quality of Optimum’s signal was simply unacceptable. Seeking a solution, I found relief in a Facebook group called JToolman, where the members provided helpful advice. Following their recommendations, I connected the printer through a USB connection, and I was relieved to find that I was back in business once again.
Helpful Links
Part 1: Canon Imageprograf Pro-1100 — Brian Cade Photography: Collective Works
Shop Canon Pro imagePROGRAF PRO-1100 | Canon U.S.A, Inc.
Facebook page: Jtoolman Photo Printing Techie
YouTube Channel: Jose Rodriguez Photo Printing Techie
YouTube: Keith Cooper
Good News....Bad News and Possibly More Bad News: My Marshall JCM2000 DSL100
Since this was a used piece of gear, and according to the listing on the guitar Center website, it was listed as “Excellent.
First, here’s the good news: my wonderful wife got me an amp head for Christmas. Our way of celebrating the holiday is to pick up to three things we’d like to receive, and then on the big day, we exchange gifts. This way, there’s some element of surprise during the festivities.
So, I selected my three, knowing very well that the odds of actually receiving one of them were slim to none (grin). Come the big day, and there it was — that one gift I thought might be a bit out of reach. It was a Marshall JCM 2000 100-watt amp, which she got at a pretty good deal from Guitar Center (online), Grand Rapids, Iowa. It even came with an ATA flight case. I was speechless, to say the least. This was going to be a perfect match with my Marshall 1960A cabinet.
Since this was a used piece of gear, and according to the listing on the Guitar Center website, it was marked as “Excellent,” the first thing I noticed was a name stenciled on the flight case: Billy Lee Janey. I paused my inspection to Google his name and search social media just to see who he is. I found out Billy Lee Janey is a very accomplished and established touring blues musician from Grand Rapids, Iowa. I spent about an hour watching some videos on YouTube, reading his bio, and checking online reviews. I’ll include his links below.
So I selected my 3, knowing very well the odds of receiving one of the gifts were slim to none (grin). Come the big day, and there it was, that one gift I thought would be a bit out of reach. There it was, a Marshall JCM 2000 100-watt amp. She got a pretty good deal from Guitar Center (online), Grand Rapids, Iowa; it came with an ATA flight case too. I was speechless to say the least. This was going to be a great pairing with my Marshall 1960A cabinet.
Since this was a used piece of gear, and according to the listing on the guitar Center website, it was listed as “Excellent”, First off there was a name stenciled on the flight case was Billy Lee Janey, of course I took a time out from my inspection and had to google his name and search social media to see who he is, found out Billy Lee Janey is a very accomplished and established touring blues musician from Grand Rapids, Iowa. I took the better part of an hour to watch some videos on YouTube and to read his bio and online reviews. I’ll throw his links down below.
Back to my inspection, and to see what bad news is hidden or obvious, my new to me gear showed heavy use of the handle, no biggie and easily replaceable. If anything, it added some character to the piece, may have been heavily toured from its previous life. The serial number on the rear panel shoed it was a 1997 model, Heck, the amp was over 20 years old, the stories it could tell if it could speak.
Next, I removed the aluminum mesh grill on the back to insure all the tubes were intact, and they were, the inside of the chassis was dusty, still, it was used gear, easily remedied. The back panel showed it was missing an 8-ohm jack input. Not a deal breaker, and easily fixable. So, all I was able to see visually was the handle needed replaced and an input jack, I finally plugged in my Gibson Les Paul and powered up the amp, strummed a few notes, damn this thing was loud even at 1, scared the crap out of my dog though.so onto the worldwide web we go.
I went through Marshall amplification for the handle, this saved me from getting a generic or fake part. The 8-ohm jack was a different story, I found a shop in Nashville, Tn. called British Audio, it actually took me 3 times to get the right part, the first 2 times I thought I knew what I was doing, the third and last try I actually called the shop, and they got me the right part, third time was a charm. Very friendly staff Nashville Audio was.
The handle I could easily install, the 8-ohm jack was another story. I called around here in my neck of the woods, and Guitar Pus in Beckley, WV gave me the name Keith fain, a retired gentleman that did work on amps.
Keith and I spoke on the phone for over an hour, discussing everything from music to photography. Keith came across as a real people person as well as very knowledgeable in amp repair. He did tell me that the Marshall JCM 2000 did have some Bios issues and the main circuit board was manufactured thin and the replacement boards were thicker and more reliable. I am hoping my current circuit board was changed out prior to myself or Billy Lee Janey owning this amp model.
Honestly my heart sank when Keith told me of the issues this particular amp had, at this point, I was just a phone call away from getting authorization to return it to Guitar Center. It took another search on the internet for see the cost of a replacement board, and I decided to keep my new to me amp. Clearly GC needs to rate their used stuff better, I would have rated this amp as in “Good” condition, would I have kept it if it was rated as such? Probably so, the fix isn’t too bad. The only big fix would be a new circuit board, that would cost me around $200 - $250, The early “2000s” had a problem with bias drift, a new board would breathe new life into it. It really wasn’t so bad after all, and the not so bad to worse news actually had a silver lining, and as promised I added all relevant links below.
No Soup for You
I’ve been wanting an acoustic guitar for quite some time, and the brand that stuck out for me waas Breedlove, a guitar company out of Bend Oregan. Sure, I have looked at other makers, Guild, Martin and Taylor guitars to be exact. Breedlove just checked all the boxes for me in playability and affordability for me.
No Soup for You! Oddly enough, I wish it were as simple as no soup for me it's more about a recent purchase I made from Sweetwater, an acoustic guitar to be exact.
I’ve been wanting an acoustic guitar for quite some time, and the brand that stuck out for me was Breedlove, a guitar company out of Bend, Oregon. Sure, I have looked at other makers, Guild, Martin, and Taylor guitars to be exact. Breedlove just checked all the boxes for me in playability and affordability.
So, at the time this model was on backorder, I was both excited and a bit anxious. What model caught my eye? The ECO Pursuit Exotic S Concert CE-Tiger's Eye Myrtlewood, priced at $649 (regular $749), was quickly shipped to me within a few days, thanks to my salesperson, the excellent Justin Dunn.
My guitar arrived on a cold and rainy Friday, and my excitement was through the roof. However, this excitement quickly turned to disappointment. The box that contained my new acoustic guitar showed signs of severe water damage, along with damage to each of the corners. The side with the most severe water damage was even held together with tape, and there was still moisture underneath. Despite this, I decided to wait until the next afternoon to unbox my guitar, giving it time to acclimate to its new environment.
I must clarify that the water damage to the outer box was not caused by Sweetwater delivering my purchase, but rather by FedEx during the shipping process. The guitar was in great shape, surprisingly. There didn’t seem to be any water damage to the third, most inner box of my parcel. The guitar was nearly in tune, so I strummed a few chords and realized that this guitar, this model, was not for me. It didn’t match my expectations, which can happen when you buy something sight unseen. The only thing I truly liked about the Breedlove was the entire bridge design. However, that alone wasn’t enough to justify keeping it. So, back it went, and I continue searching for what I really want. There’s a place not far from us that deals in Taylor guitars, and I think it would be wise to hear what I am looking for in person before making a decision and placing my next order with Sweetwater. Below are the images Sweetwater sent me prior to shipping, along with a link to this particular model.
The guitar was in great shape, surprisingly. There didn’t appear to be any water damage to the innermost box of my parcel. The guitar was pretty much in tune, so I strummed a few chords, and with that, I realized this guitar, this model, was not for me. It wasn’t at all what I expected. I guess that happens when you buy something like this sight unseen. So, the only thing about the Breedlove I truly loved was the whole bridge design. That in itself was not enough for me to justify keeping it. So back it went, and back to searching for what I want. There’s a place not far from us that deals in Taylor guitars, I think it would be in my best interest to hear what I am looking for and then (maybe) make a decision and place my next order with Sweetwater.
Below are the images Sweetwater had sent to me prior to shipping, and a link to this particular model.
Breedlove ECO Pursuit Exotic S Concert CE Acoustic-Electric Guitar - Tiger's Eye Myrtlewood | Sweetwater
New Gear : Sony a7R II (Part 2 of 2)
I’m just a few weeks late with the January blog, but for good reason. Last month I had gotten the Sony super sharp 135mm f/1.8 lens, I was at the time looking at what mirrorless camera body to complete my purchase; Sony’s A7 III and A7R III were in the running. But wait, the title of this blog post mentions the A7R II, So why the sudden detour from my previous choices.
I' m just a few weeks late with the January blog, but for good reason. Last month, I got the Sony super- sharp 135mm f/1. 8 lens. I was also looking at which mirrorless camera body to complete my purchase; Sony' s A 7 III and A 7 R III were in the running. Then I went ahead and bought the A 7 R II. So, why the sudden change from my previous choices?
The three factors that convinced me, especially considering the A 7 R II is five years old, are:
1. The price- even used from B & H Photo, the A 7 R II was $ 1, 1000 cheaper than the A 7 R III and $500 less than a “new” A 7 III. It simply came down to what I could afford without breaking the bank.
2. NO LOW PASS FILTER! At least with the A 7 R II and III, there isn' t one. This will deliver a much sharper image, from what I' ve read. My Nikon D 800 has a low pass filter, so choosing the A 7 R II was a clear decision. I look forward to comparing the images to see the difference- maybe in the next blog.
3. Shutter count- although it wasn' t listed on the B & H Photo website (which is rare), I had to take a chance and hope for a lower shutter count, trusting that the previous owner took care of the camera body. The one I bought was listed as a 9 +. I wasn' t disappointed with either the condition of the camera or the shutter count, which I checked through shuttercounter. com after it arrived; the count is shown below.
I' m sure there are additional key features I used as deciding points, like Sony' s fantastic focusing system. The high resolution- both the AR 7 III and the A 7 R III- are quite comparable, but at the same time, they are different. Some features it lacks include a second memory card port, which, by the way, is UHS- I and not the faster UHS- II found in its predecessors. I can live with that. The number of images per battery charge is roughly 290 versus 650 from the A 7 R III. Since I no longer shoot fast action events, that wasn' t a deal breaker either. I' m happy with my first mirrorless camera. I posted a link below to show a more detailed look at the two.
The 3 factors that won me over, especially with the fact the A7R II is 5 years old are.
The price, even at “used” from B&H Photo, the A7R II was $1000 cheaper than the A7R III, and $500 less than a “new” A7 III. So simply it came down to what I could afford without breaking the bank.
NO LOW PASS FILTER!! at least with the A7R II & III, there isn’t one, This will yield a much sharper image; well from what I’ve read. My Nikon D800 has a low pass filter, so getting the A7R II was another clear choice. I look forward to comparing the images to see the difference. maybe the next blog.
Shutter count, though this was not listed on the B&H Photo web site ( rarely is if not at all) I just had to roll the dice and hope for a lower shutter count and the previous owner had taken care of the camera body, the one I bought was listed as a 9+. I was not disappointed on either, the condition of the camera or the shutter count as I was able to check it through shuttercounter.com when it arrived; the count is shown below.
I am sure there are a few more key features I used as deciding points, such as Sony’s amazing focusing system, The high resolution, both the AR7III and the A7RIII are really not that different in comparison but at the same time, they are. Some things it lacks are a second memory card port, which by the way is a UHS-I and not the faster USH-II found in its predecessors, I can deal with that. The images per battery charge is approximately 290 vs the 650 you’d get from the A7R III, since I no longer shoot fast action events anymore, that wasn’t a deal breaker either. I’m happy with my first mirrorless camera, I posted a link below to show a more detailed look at the 2.
Staying Creative and Other Stuff During The COVID-19 Pandemic
As the COVID-19 pandemic takes our world by storm, many of my fellow photographers as well as myself have wiped our calendars clean of all photo shoots until further notice. I’ve been keeping myself busy with some re-edits from past assignments, photographing birds and attending online town hall meet ups and forums
As the COVID-19 pandemic takes our world by storm, many of my fellow photographers as well as myself have wiped our calendars clean of all photo shoots until further notice. I’ve been keeping myself busy with some re-edits from past assignments, photographing birds and attending online town hall meet ups and forums with other professionals, using the ZOOM app, The 2 I have attend are Fashion Photographers Connect created by renowned fashion photographer Melissa Rodwell , also owner/creator of The Breed and Alice magazine, and lastly the ASMP., Both have been very mentally therapeutic.
XM Radio has given me another outlet to escape, especially with the Marky Ramone: Punk Rock Blitzkrieg channel and the Howard Stern Show, it tears me away from the TV, listening and watching the number of infected and dead grow larger each day, here and around the world.
Even my wife, the avid quilter has been keeping busy with making masks for those that need/want them, in fact the cover image for this blog I am wearing one of her creations. She makes sure I have a mask with me at all times, since I am considered “high risk” because of a respiratory disease that I was diagnosed with in 2012..
Below are the self assignments I had given myself, the next assignment is to get some decent images of our furbabies, some where along the lines of the work by Alexander Khoklov and Veronica Ershova.
Lastly but more importantly, I just wish people would take this pandemic more seriously, social distancing works, staying home works, we need to bend this curve of recklessness and selfishness, NOW!! cause tomorrow may not come for many of us if we don’t. I know this, I want to live.
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This image was actually an outtake from the assignment I did last month for this client, I edited it Capture One software
This image of local musician Bo Mcmillion was an assignment I shot in 2011, I reedited the image in Capture One software, converting it to black and white.
We have a few bird feeders in our yard, sometimes I put some out on a table on the back porch, I decided to take advantage of a good situation.
From all the birds that stop by to feed, this one stood out .
The Unofficial Wedding Photographer
After 20 years, I tied the knot one last time; 2nd time only in my lifetime. The ceremony was small, simple. A few close friends and family were in attendance. Everyone pitched in to make our day as close to perfect as possible.
Cover Image By ©Sheena Pendley Design and Photography used with permission
After 20 years, I tied the knot one last time; 2nd time only in my lifetime. The ceremony was small, simple. A few close friends and family were in attendance. Everyone pitched in to make our day as close to perfect as possible.
I have participated as a “unofficial” photographer at a few weddings over the years, gifting my images to the newlyweds as seen in the 2 images below. So when it came to my own wedding it was no surprise I was to fill the roll as the “unofficial” photographer again, Though I was just as happy with a few smartphone images from our guest,
So I set up my gear for a few intimate portraitures of my own of my bride and her family after the ceremony, with the exception of an extra extraordinary friend and fellow photographer we invited, Sheena Pendley, She provided images of all in attendance; We invited Sheena as a guest, as our friend, It was a huge surprise and an honor she provided us with such beautiful images, making herself the unofficial photographer as I have done in the past.
Following the 5 images I shot, I have provided 4 images (aside from Sheena’s cover image) , along with a link to her professional website and the Facebook link to the rest of the images from our wedding that she so kindly shot for us at the end of this photoblog…..Enjoy...
Our Wedding
© Brian Cade Photography: Collective Works
© Brian Cade Photography: Collective Works
I wanted an image with my beautiful bride done with my lighting setup, so I handed my camera to my friend Tammy to get the shot.
Here are 4 sample images by photographer Sheena Pendley, her website and Facebook links are below.
©Sheena Pendley Design and Photography used with permission
Facebook:
Sheena Pendley Design + Photography
Website:
Test: Pocket Light Meter App For iPhone X Pt 1 of 2
So recently I purchased another photography app for my Apple iPhone X; The Pocket Light Meter Nuwaste studios ($10.99). Since I always have my phone with me, I thought it would be a great companion for my gear
So recently I purchased another photography app for my Apple iPhone X; The Pocket Light Meter Nuwaste studios ($10.99). Since I always have my phone with me, I thought it would be a great companion for my gear since I have been known to forget my traditional light meter at home from time to time,
Right out of the gate I noticed setting the ISO, shutter speed and aperture were a breeze on this app. it handled much like my old Minolta spot meter, the downside of the app version is it can’t take 2 separate readings for a combined exposure as in the Minolta spot meter had done. The other thing I noticed was comparing light readings between the app and my traditional light meter fell between a 3rd of a stop for the most part, not a deal breaker, but noted throughout these tests.
I am running some test paired with my Sekonic L-358 meter. Part 2 of this blog will have the final images from these test. As for the gear I will be using; Mamiya RZ67 Pro camera with a Mamiya RZ67 Pro II 6x7 film back, Mamiya Sekor C 50mm f/4.5 lens and Ilford HP5 + 120 film.
I hope to have my film ready to process in the next week or so, and part 2 of this blog written shortly there.