EFS Macro, Canon's Crop Sensor 60mm f2.8

Cameras have different digital sensors. Canon generally produces two, the 22 millimeter "crop sensor," and the "full frame" 35mm.

Lenses are mostly compatible, with the exception of EFS, which are made specifically for the smaller sensored cameras like the 60D and 7D, and Canon's latest, the 70D. Also included in the crop sensor market, are the entry-level, first-time owner, Canon "Rebel" series.

Canon has done a pretty good job of providing a good range of lenses for the consumer targeted crop sensor. Lens choices range from the super affordable 60mm f2.8 Macro USM, to the somewhat wide 15-85mm with Image Stabilization(IS).

The Macro 60 does not have IS.

 The Canon EFS 18-55mm IS, the crop sensor kit lens. Photo w/ Canon EF 50mm f1.8 & XTi body.

Macro photography is a tough gig. Depths of field seem slimmer, and because of that, some objects are rather blurry. It is the nature of Macro Photography, I am told.

The lens is plastic with a metal mount, like most second-tier Canon lenses, but is decently made. It feels solid when handling it, and the plastic doesn't feel cheap. It is about the same size as the EFS 18-55mm IS, which is the standard kit lens for most entry level Canon cameras in this class, especially the Rebel cameras. Some kits come with bigger zoom lenses, but you get the point, the EFS 60mm is compact.

It has some worthy features. The Canon "Ultrasonic" motor is quick and silent, but is held back at times, by the lens' habit of searching for focus. The lens has full-time manual focus, and a depth-of-field(DOP) window, which is handy for any kind of photography.

The macro lens does not rotate or extend during focusing, an essential trait for a macro shooting lens.

The 60mm Macro produces nice images and smooth bokeh, captures small items sharply, and can focus from a few inches away. Not bad for around $469 new(Canon retail). I have seen this lens on resale websites for $275 in "very good" condition. Mine was a Christmas gift, how nice is that?

Canon EFS 60mm f2.8 Macro USM at ISO 800, f4 with 1/80th second shutter.

 The EFS 60mm Macro is fast at f2.8, but not blazingly. Combined with the lens' thin DOP, and the 2.8 aperture, a tripod is my recommendation. Sure, in good lighting, handheld shots are plausible, but I still would go for a tripod in most macro situations with this lens.

This macro lens does double-duty as a prime walkaround lens. The 60mm translates to 96mm on the Canon 1.6x crop factor, and the field-of-view is very capable on the street. The lens produces very nice images, and has been rated above my 50mm f1.4 USM. It works so well on the street, and has macro, which means it has replaced the 50mm f1.4 in daylight conditions, at least on my camera it has.

When it comes to distortion, the EFS 60mm Macro has very little, if any, and is unnoticable. Chromatic aberration has been rated in the "very good" category, by the very reliable website, Photozone.

Vignetting is not an issue, if you stop down, as most do anyways, especially for street shooting.

If you shoot a crop sensor, as most Canon DSLR shooters do, then this lens is a good start for macro photography. The lens doesn't really stand out anywhere, but it performs so well for a varying array of shooting, that combined with affordability, the Canon EFS 60mm f2.8 Macro USM is a no-brainer buy.

Canon EFS 60mm f2.8 Macro USM Ratings:

1. Build Quality-          4 out of 5
2. Affordability-           4 out of 5
3. User Friendly-         4 out of 5
4. Image Quality-        4 out of 5

At the final analysis, this lens is a solid 4 of 5. Adding Image Stabilization or a faster aperture might bump this lens into Five-Star status. The Canon EFS 60mm f2.8 Macro USM is highly recommended.

Editorials & Interest Rates, a Look at Albany's Failed Emergency Bond

A constant volunteer at various Albany community happenings, Bill Root, while chatting at the St. Mary's Soup Kitchen, told me, "You don't know what you're talking about."

So I let him explain:

First, Root said, the emergency bond failed because folks didn't know that it wouldn't raise their taxes. The new bond would have paid off two older bonds, and tax payments would remain about the same.

Second, the fire and police WON'T be separated, but I agree, they need to be accountable.

Root went on to say that the Democrat Herald(DH) editorial on the matter was "accurate."

The DH has it right, Root told me, and the summary regarding voter angst, speaks to America in general. The dissatisfied factions are critical of all government, from the federal block, all the way down to the municipal government we have here in Albany.

 Albany's Ladder 11 responds to a small chimney fire in west Albany.

Some of the comments on the DH editorial, have indeed stated that "we(voters) are sick of spending and taxing by Albany government."

I disagree with Bill Root, and I disagree with the DH. It is more than just a "few unhappy voters."

But what about Albany lately, with its hard to rent out Carriage House and "bought" remodel of downtown, which eliminated an entire block of parking in the name of private business? There are other issues, such as Albany Police(APD) spending gobs of money on rarely used, and hardly prudent, tactical gear.

I believe we do, in fact, need an upgraded emergency bond. But addressing glaring problems within Albany, should be first on that agenda. Examining government spending, and the payoff to its citizens, is the first step in the process. And like the DH stated, the Albany City Council has "stepped back," to let former Linn County Sheriff, Dave Burright, and former Albany businessman and politician, Frank Morse, form a committee to study the matter.

Two things here, the first being the lost vote. The bond was defeated by 700 or so votes, meaning that the study will be focused more on how to get a "positive" message to Albany voters, in hopes of swinging opinion.

Secondly, and more importantly, the city government has little credibility within the city. Judging by the comments left on DH articles about the bond, even a fire measure would fail.

What this means is, the proposed bond appearing on the spring ballot, might be too soon. I would encourage the city council to research the ideology, not the need. I know that is hard to swallow, pending a November election. But I think the council would benefit from a change in focus. Spending for the future, is great. Spending money to pad the elite, is not great.

The simple fact is, government is partisan, and in Albany, partisan means simply denying any bond measure. It is typical of government, yet in this case, when reviewing Albany's spending, it seems an appropriate "blocking" of any vote on more spending.

The city's response has been that the new bond replaces expiring bonds, which result in roughly the same taxes. 

Citizens are tired of "high" taxes, and many of the DH commenters stated that they "were tired of high property taxes."

In addition to bond issues, citizens have voiced questions about fire purchases such as a new ladder that "doesn't fit in the existing building." Other questions included points about promises made when the police station was built, expenses on police gear, and why the police building is in "abandon" mode.

Address mistakes made, in regard to spending, and implement a long-term plan for emergency services. Take hold of nationwide response to policing, and make Albany's police a better unit. And finally, find some manageable use for the Carriage Building, the existing police station, and for the Political Action Committees that fail to represent Albany.

I get it, that investing in Albany's future, is the motivating factor behind the city council and its spending. I just think some of that spending, could have been executed better.

The Carriage House was a good idea, if the surrounding area is upgraded as well. The spending on Broadalbin, between 1st and 2nd, is an atrocity. It looks beautiful, no doubt, but at what cost? After eliminating a half-block of parking, businesses around the Broadalbin project have suffered.

And in my opinion, making it harder on the smallest businesses downtown, is a monumental mistake. One that had a hand in the failed bond for emergency services.

And why, other than Linn County Monarch Tim Mueller, has there been zero comment about making use of the current police station?

As far back as 2009, the DH reported on APD's search for a new locale. Back then, the argument was that in addition to the current building being too small, it is also "inefficient."

Seems like poor planning and begging to me.

Mueller publicly said, "The Linn County Sheriff's Department would love to have that building." Of course he would, at the taxpayer's expense.

Nothing like paying for something twice.

Linn Sheriffs escort a prisoner to court.

Years

It was dark.

The light rain, lit up like fireflies in the streetlamps, wasn't making his walk any easier either.

This is hell, he thought.

Walking down Pacific Avenue, he thought about his bicycle. The Raleigh that was far older than any bike in the garage, but not so old that he couldn't ride a dirt trail every now and then.

He looked at the rain and thought about the bike again. He wondered if the thief rode it a dozen blocks and dumped it.

Damn thief, he said out loud, into the night.

Passing ARCALL Gas, and the abandoned Safemart, he listened to the sloshing splash of his steps. He stopped, and unzipped his coat, and put the camera to his hands. Metering the scene, he pressed the shutter halfway, and judged the shutter speed. The dark was hard on the old camera, it didn't handle nighttime at all well.

Too slow on the shutter, he muttered.

The rain was getting harder, and the wind began to kick.

He tucked the lens inside his coat, to keep the rain off it. The lens cover had gone missing a week earlier, and after searching like he was looking for a lost dog, the lens cap had not been found.

Bad luck.

Or maybe the bike thief, he countered his thought, and frowned.

Normally, he would have rode the bike home from work. The same work he had rode to for the last ten years. On the same bike.

He could have hopped a bus, but he didn't feel like waiting.

Approaching Queen Street, with its golden arches and drive-thru cigarette stores, he fetched the camera from inside the shelter of his coat. As he walked, he metered the camera, and stepped into the street.

A man drove his car, gently, through the wind and rain.

I need new wiper blades, he thought, squinting to see through the black-wet darkness.

As he crossed Pacific Avenue, he squinted again.

In a flash of light, a crash to the windshield, and what horrifyingly looked like a face smothered in a yellow rain slicker, he slammed the brakes to the floor.

It had seemed as if the brakes were painfully slow to respond, but it was actually a single, clicking moment, and then he came to rest. He couldn't see through the cracked windshield, but he could hear the pitter patter rain, falling softly into the accident.

He opened his door, and stepped out into the weather, feeling like his legs were made of jello.

A million thoughts pierced his brain.

How fast had I been going?

Where was this person?

Please be alive.

He was not a man to pray. He closed the car door, and could not remember not knowing how to walk, but for a second, when he turned from the clank of the closing car door, he saw the shoes.

And he froze.

They were All-Stars, only a different color than his own black ones. These were white. And they shone bright in the raining headlamp.

He walked to the body, and turning the corner, around the bumper, he saw, in a filling pool of blood, a yellow, rain-slickered body, face-down at the front of the vehicle.

This has to be a man, he thought, judging the height against the length of the bumper.

He saw the camera upside down, lens down, and as he approached the torso, he called.

Are you okay?

Nothing.

As he picked up the man's wrist, to check for a pulse, the camera body lit up, and showed a photo.

It was a photo of his father, who rode a bicycle, and wouldn't have been in the road.

Or so he had thought.

The violent commotion of the impact, had rendered the shutter and lens together, at just the angle of the victim's face.

While he lay there dying, having a heart attack, unable to get to his father, just feet away, he wondered, Why wasn't he on his bike, in the bike lane?

Why? he thought again.

He clutched at his chest with rigormortis-like hands, stiff and past their time.

It was dark, and the rain slowed to a crawl, as if it were traffic that has nowhere to go.

The rain, like the years, had passed.

Photo by Ronald Borst

Bike Town USA

A large, billboard sign, in Portland, Oregon, probably says it best. "Bike capital of the U.S.A."

John Buckley, a mentor for many, and still a constant reminder, rode a 1980s 21-speed roadbike. Buckley rode that bicycle to work, ten miles away, every day for thirty years. No exceptions.

I wish I was that tough. I ride a lot, however, and this column will help you consider some things if you choose to ride. These tips are based on my riding experience.


EARS

As I once told my oldest daughter, "We don't listen to music headphones while riding." There are no exceptions. The "no exceptions" clause, common for this field of expertise, is rarely negotiable. Bicycles mix it up with automobiles, and to exist as a cyclist in that three-foot bike lane safely, attention to detail is crucial. You need ears to ride, simply put.


EYES

I cannot hammer this point home enough: Keep your eyes peeled! Paying attention to everything within the white lines, will get you home. Knowing what traffic is doing, helps the bike rider make accurate decisions. Turning across four lanes, for example, is deadly dangerous. Risk in this situation is unwarranted at ALL times. Accurate decisions here include not crossing(until a better spot exists), returning to a previous crossing, and riding a different route.

In really intense situations, such as "high traffic at dusk," stopping and getting your feet underneath you, will help you gauge the safest spot to maneuver. Tight shoulders mean not leaving the bike, only stopping to get a 360 degree view.

Handlebar mounted mirrors are an undeniable asset, and essential for heavy city riding. Knowing how to use them properly, will help any rider achieve another level of awareness.


EQUIPMENT

I own a number of bicycles, and the key to owning a bike is care. Caring about your ride will make it last generations. Indoor storage, yearly tune-ups, regular maintenance, and proper use, will make riding safe for everyone on the road. A bike that has efficient brakes, bright lights, and perfect tuning, runs better for longer and protects the rider infinitely better than a poorly maintained bike.

Invest in a high quality light set, as it too, will last longer than either of us, if taken care of.

A helmet that is well-made, is an essential part of the riding arsenal. I recommend testing different ones for personal taste. Local bike shops are great for this, and can help with mounting straps and such.

In Oregon, raingear is a must, even if you are a "part-time rider."

Other things to consider are extra lighting, such as a headlamp. Reflective tape and riding gear with reflective traits, are immeasurably important. To be seen, if you are riding at night, is the most important aspect of a night ride. Be seen, simple as that.


BAD HABITS

Bicycles are more maneuverable, and because of this, the "rules" that govern bikes, are sometimes extremely lenient. Use this to your benefit, but do it safely. Bad habits like riding opposite of traffic, are easily remedied, if the rider is super respectful of traffic. Suppose the wrong-lane-rider is approaching a stop sign with a waiting car. The rider traveling against traffic should stop here, and let that traffic go.

There are a number of reasons for this. The first is the legal aspect, as the car has "Right Of Way." The second reason for stopping, is safety. The rider should never assume that the car driver will see a bike in such a blind area. Many drivers may not look, because traffic generally isn't there. Safety should be number one, no doubt about it.

Other confusing and dangerous behavior, is a rider who takes the "California Stop" to new heights. This rider altogether ignores an empty intersection, and blows right on through. Don't do this. Change gears, slow down, look both ways twice, and then continue with the right California Stop.

Many situations exist, that bring both rider and driver together, in a dangerous predicament. Be sure to be prepared. Attention to detail, can and will, save your life.


GOOD HABITS

Riding with kids, can be awesome and loads of fun. Children are copycats. Teach them to ride safely. Knowledge is great, but if examples are not set, knowing about bike safety is meaningless.

Stopping at stop signs is a great habit. Use those leg muscles to get going again. Unless getting hit by a car sounds good.

Wearing a helmet is the most under-appreciated part of bicycling. Enough said.

I know that bikes are allowed as "traffic." I recommend using bike lanes and shoulders instead. Roads are for autos, enough said.

KNOWLEDGE

Transit schedules, bike routes, truck routes, and thoroughways, are hotbeds of information for the cycler. In Portland, for example, knowing these things helps to ride the safest and most efficient routes.

How to do roadside repairs are an area of loss for many riders. Practicing changing tires is great, but not enough. Adjust the brakes while your bike is in the garage upside down. That's how I often work on my bicycle. I set the bike on a table, upside down. Then I do my work, which includes brake adjustments, derailer work, and the typical "clean & lube."

At the end of the day, I want you to be satisfied, exhilarated, worn out, and alive. Have a great day on two wheels!

Aliyah With My Canon Camera

I shoot with a few different kids. Taha was the first, then his sister, Aliyah. Richard Jones' kid, Alexa, also has been out on the photo trail with me. Whenever the shoot arrives, I have just three rules.

One, listen to me at all times. Two, do what I say, as long as it seems reasonable. Three, watch what you are doing with my camera gear- your mom cannot replace it, nor can I.

We always seem to have a blast.

 Aliyah and the Canon XTi.

Today, the 14^th of December, is no different. Aliyah bundles up, gloves and beanie, and an extra hoodie. We head towards my house, a dozen blocks away, to meet the FedEx guy. He's delivering my Canon EF 70-300mm, from the Canon repair factory, where it underwent repair.

Now that it's mine again, I aim to find some herons or geese to photograph.

Timing is awesome, and just as we arrive at my home, so does FedEx, with his big box truck, and my big zoom lens.

Inspected and mounted on the Canon 7D, we are about ready to shoot outdoors, in foggy and damp Oregon, with its typical rainforest-like December.

 Photo by Aliyah Haji-Mohamed

“I'm hungry.”

“You want some leftover pizza?” I lie and tell her it was last night's. It was really Thursday night's dinner, two nights ago. It is still very good, and Aliyah devours it.

“What kind of soda is this?”

I tell her it is Vernors Ginger Ale. “The best,” I say.

We see many birds in the opening minutes of the photoshoot. Aliyah wants to photograph every one. But the kid has my Canon XTi and the EF 50mm f1.8, a gem, although not for photographing birds. So I tell her, to just shoot “scenes,” both large and small.

“Just remember, you have no zoom, so don't try to get close-up bird photos.”

We make our way towards downtown, zig-zagging northeast through west Albany, criss-crossing holly covered trees and berry-eating, red-breasted robins. At the hospital, Aliyah shoots street photos of dog-walkers and waving flags. At the canal, along the filbert shell landscaping, she notices signs of many other dog-walkers.

“There's a lot of poop here,” she notes.

 Photo by Aliyah Haji-Mohamed

At the entrance to Bryant Park, she spies a river scene, complete with a train bridge. I shoot from this spot often, but wasn't going to stop today.

“Can I take a picture of it?” Aliyah asks.

“Sure, fire away.”

We spend a few moments there, above the Calapooia River, and the rushing waters. The sounds of the running river, and the kid's questions, are all at once soothing, cool, and fun.

We move on to Montieth Park, home of “River Rhythms” and giant osprey. No osprey lately, but plenty of geese and herons.

The geese let the whole world know we arrive. Aliyah shoots them through the fence railing, as I move quietly down the boardwalk dock.

Aliyah sees the Great Blue Heron, silent and still, a hundred feet from the lookout dock.

“Wow,” is all she mutters.

The egrets that also hang out here, are perched, as usual, on top of the dock pylons. They watch us nonchalantly. It is a somewhat different story with the heron, as its piercing yellow eyes never seem to move. The bird watches us, and the water, for any sign.

We take about one-hundred photos. Some are good, some are entertaining, and some are garbage. The 70-300 still has issues in low light, and combined with the 7D's unfortunate similar problems with low light, the photos of the heron do not look awesome. They are simply mediocre.

After shooting for half-an-hour, we head into downtown, with its tinsel and holiday lights, shining in the daytime fog. Aliyah likes to shoot life, like I do. She watches for interesting people or buildings, and she watches my camera. Tuned in and focused, the Canon XTi is in good hands with Aliyah.

It is not her first shoot, and she has remembered lessons well. The “half-shutter” focus, the use of “framing” technique, and a general appreciation for good photos, has served her well.

Aliyah Haji-Mohamed is a photographer.

On the way home, we stop at Hasty Freeze, for the best fries in town.

And ice-cream, of course.

Aliyah's photos:

Ten Tips For Learning Your New Canon 7D

Ah, the magnificent Canon flagship cropsensor camera, the 7D. Eight frames per second of digital camera heaven. I love this camera, and since many are still buying the 2009 offering from Canon, here are my Top Ten Tips For 7D New Owners.

1:
Read the manual at least THREE times. Yeah, I know. This sounds like comedy, right? NO! This is a complicated camera, a technological and mechanical wonder. The thing simply cannot be learned overnight. Nine months in, and I still refer to the 7D's manual. Things like Highlight Priority and Auto Light Optimization must be read about and settings learned. The complex flash, with its awesome wireless capabilities, needs schooling. The manual is the best way to get "schooled." And far less embarrassing than in the field.

2:
Avoid Live View. Until you learn to shoot this marvel, stay out of the live modes and video modes. Learn to use this as a DSLR. It shoots great video, so I have heard...if you get my point.

3:
Avoid high ISOs. This is not just a rule for the new owner of a fabulous Canon 7D. No, this tip is for all photographers who want to take better photos. High ISOs are horrible. Plain and simple, avoid ISOs over 800 and maybe 1600 for low-light fast shutters. I have gotten high quality prints from ISO 3200, for boxing, when I needed a really fast shutter, but generally avoid high ISOs. (See Tip 4, Prime Lenses)

4:
PRIME LENSES. Enough said, but I'll say more. Prime lenses are much crisper than zoom lenses. There is less distortion at the edges with primes, and clarity tends to be sharper. Fast primes, such as Canon's EF 50mm f1.4 USM are super handy, and a valuable tool in any photographer's hands. Lenses such as the 24mm f2.8 or the 85mm f1.8, are decent, as primes go, and are extremely thrifty.

If you are interested in sports or wildlife, a fast 200mm to 400mm would suffice. Good zooms are available, such as the EF 28-135mm IS USM, and the EF 70-300mm IS USM. Both are affordable, but neither is fast.

Photo shot with the EFS 60mm Macro and Canon XTi.

5:
Macro. Canon makes a EFS Macro lens for the 7D, the EFS 60mm f2.8, and also makes the full-framed EF 100mm Macro f2.8, which does work on the cropsensor 7D as a 160mm Macro lens. Which you add to the 7D is your choice, but make it happen. Macro opens a whole new world to the fast focusing 7D.

6:
Learn the Custom Settings. The C1, C2, and C3, can be used for specialty stuff like flash photos, action shots, or night photography. Make use of the settings, as they add function and efficiency to your shooting. Street photogs will appreciate these Dial Functions, as they add settings like "low-light urban" and monochrome portraiture. Once again, use this camera's functionality.

7:
Auto White Balance. I tend to use Auto WB in most spots. The camera is far smarter than I, when it comes to light. Enough said. If you are super-advanced, and can adjust for color manually, can we meet for dinner and a beer?

8:
When it comes to things like Metering Modes, I suggest reading the Manual and adjusting accordingly. I tend to use Center-Weighted Average mostly, but I will use Spot Metering occasionally, when shooting bugs and stuff. I also use the Servo Focus Mode in those spots. Remember to use Servo when shooting action like wildlife or sports.

9:
Learn to use the Exposure Lock, the little "star" icon on the upper right of the camera body. In situations where metering will be of high dynamic range, using the lock will keep the exposure you choose. The Menu button resets the exposure. I have found this useful for photography of wildlife that is in thick cover, but somewhat unmobile, if only by choice...

10:
Refer to the Manual often, as the settings and functions are discussed in depth. Many forums exist online, and Canon can be helpful as well. Picture Style settings are explained and those settings have not only custom sets, but one can also alter the default parameters. Meaning, the default "Landscape" setting, could be adjusted for less sharpness, if so desired. Learn these settings and their uses.

Remember that hand-shake is efficiently eliminated with fast shutters, and not "Image Stabilization," which does help. Use this gauge to eliminate blur: Shutter = 1/ 1.5x Focal, meaning a 100mm lens needs a 1/150 second shutter to stop average hand-shake. Shutter Priority Mode is best for this.

In broad daylight, shooting in Aperture Mode(Av) is awesome, especially controlling depth of field. Because of the more-than-sufficient light during bright days, in Av Mode the camera is able to set a super-fast shutter. No worries about blur, in most bright daylight situations...

Use the tools provided, such as the 10 second shutter delay, and the lens correction data. Canon has done well, and as a photographer, we can do as well. The tools and instruction are there.

At the end of the day, simply reading and shooting, will do the most in the way of increasing your knack for high-quality photos. Canon and the 7D are ready.

Are you?

 Canon 7D & Sigma EX 10-20mm HSM

Why Hollywood Loves "The Swimmer"

Why Hollywood Relies On Great Short Story Writers

by Ronald Borst

Written in the late hours of December 4, 2013

American Hollywood, movies around the clock, is the epitome of excess, but the movie business is actually dependent upon somewhat meager avenues.

Short story writers, is what Hollywood really relies on, and John Cheever's “The Swimmer,” an American classic, is one example. The fiction short, and the movie, are easily found in the American pop culture, woven in like the seams on a baseball.

Cheever wrote the story in 1964, and in line with its quality, it is also very literate. It has words I have to look up, and in regard to the class in which the story was assigned, word knowledge is a hobby as well as a commodity.

The story's writing is not what I would consider “highbrow,” no, the language is “educated.” The first looked-up words encountered in the reading, especial and cassock, lend credence to this, as they appear in the first minute of reading. And the story's history speaks for itself. Regarded as a classic piece, and revered.

The movie, on the other hand, did not receive the same sort of acclaim. But it is a worthy effort, considering Hollywood's tendency to rewrite stories for its own glory. Money is the reason for that rewriting fact, of course.

But what is so special about The Swimmer, that warrants a movie?

Well, if we continue examining the text, more than just “educated language” becomes apparent. The opening stanza, with its hangover hanging on everyone, gets the distress going right away. Hangovers are hell, and this point sets the tone. We get more than that from Cheever, however. The scene explodes into vivid imagery once the reader has knowledge of the priest's cassock, his clothing. This simple description, of a drunken and struggling-with-his-oversized-clothes priest, is telling. The point is taken easily by the reader. Good writers do this often. Great writers do it relentlessly.

This point is obviously so beautifully written that Hollywood HAD to come investigate. Meaning, they found a story, written with a palpable heartbeat, that Hollywood considers a “moneymaker.”

But not every great story can be made into a movie, so what, in addition to the initial beauty, makes Cheever's classic short, a classic Hollywood flick?

The plot itself, along with the intense “self-reckoning” the movie presents, is a start to explaining Hollywood's love affair with great short stories. In my own time, another American writer's short story, was made into a movie. That story had self-reckoning too, and coming-of-age, which Hollywood also adores. That story was “The Body” by Stephen King, and the Rob Reiner directed movie was Stand By Me, filmed partially in my home state of Oregon.

That brings us back to The Swimmer, and its anticipated visual beauty. The story also has scenes like “The Body,” with the concept of a constant swim to visit old friends, a seemingly no brainer to adapt to the screen. With its constantly changing, but strangely similar scenes, the story is a perfect set-up for the movie medium.

In regard to the writing, Cheever's extensive use of crisp English, with words such as “especial” and “stertorously,” make the scenes dramatic and ultra-realistic. The writing is so good, that the reader can “see” Ned Merrill, long before any actor ever tried to breathe stertorously.

This quality itself, the way Cheever presents the story, the way the dialogue flows, is attractive to Hollywood, because the material has already proven desirable. And desire gets people spending money.

Money is what Hollywood is about, but fiction writing is not. How does both businesses handle each other? In the case of Cheever's story, there isn't a lot to handle in the way of trueness. Interpreting Cheever means, at the core, just read. Authors, meanwhile, also are sticklers about accurate detail, and as long as Hollywood complies, generally, authors are reasonable, much like a correct adaption.

And money is what the fiction short is. Money in the bank, with scenes like Ned floating graciously down a bannister early on in the story, and self portraits like “a vague and modest idea of himself as a legendary figure,” lend a certain visual quality that just seems to look good on the big screen. Cheever's choice of words, repeatedly shows up in The Swimmer, as larger than life, but oddly, the words are also simply perfect descriptions.

This “perfect description,” is a Hollywood dream, because reproducing stories that are written with such sharp focus and precise exposition, means much work is already done. The reader has been caught, essentially. Keeping that reader on the line, translates into paying attention to Cheever's detail, and reproducing it eloquently and accurately.

Good stories have tension, and The Swimmer has the best, which only translates to another solid reason why the flick folks love this kind of writing. Take the “breach” early on, when the main character, Ned Merrill, is thrown off-course by an empty swimming pool. This tension is dramatically appealing, and visually contrasting, both endearing qualities of an adapted fiction short story.

Stephen King once said, “Description begins in the writer's head, but should finish in the reader's.”

King hits the nail on the head, and in Cheever's story, this if not learned voluntarily, is learned forcibly. What this means is, that any level of reader could see the depth of field in The Swimmer, as a vast panorama. In extraordinary fashion, the description indeed does finish in the reader's head. The people who make movies are not lost on this ease of delivery. And those filmmakers are hungry, chomping at the bit, to relay that vision to you, in an hour and a half big screen movie, their own forte of course.

Even though The Swimmer is SHORT fiction, a feature length movie is well within the implied time expanse, since the many scenes and often encounters, however brief, lead to a movie full of artsy landscapes and complex critical thought.

The roller coaster of emotion, is one of Hollywood top-standard, and how the scene reaches a valley, out there on the Route 424, with Cheever's main character “close to naked and waiting to cross.” If we examine Cheever's passage here, what a scene it is. The drama and tension here, in the words, is as vivid as a dream that one wants to go back to sleep for. And in extraordinary(especial) fashion, Cheever leads the reader deeper down the well, with Ned Merril having “no dignity or humor to bring to the situation.”

It is the stuff literary elite salivate over, and Cheever doesn't disappoint in any fashion, nor at any time whatsoever. Anyone who claims a fiction short is not feature film material, might not have read this story. Anyone who thinks likewise AFTER reading this story, might not have a pulse. The Swimmer brims with luminous scene, elegant grammar, and captivating character study. Publishers, literary agents, and writers themselves, all strive for this kind of status, this kind of credibility. The Swimmer is not only believable, it is beautiful. It is the essence of verisimilitude.

As Hollywood is known for over-the-top productions, it is also known for its creative force. There are simply some in the movie world, who want to turn great stories into great movies.

After reading The Swimmer, can anybody blame them?

Cheever's story, written in 1964, and the accompanying movie from '68, are a positive literary and film experience. I encourage all to take in both.

Attribution:

“The Swimmer” by John Cheever (1964)

“The Body” by Stephen King (1982)

The Swimmer, Columbia Pictures (1968)

Personal reflection about fiction short stories and personal tastes regarding movies

General knowledge of the film industry and American film appetite

Turner Classic Movies, www.tcm.com, used for reference and perspective, unquoted

“On Writing: A Memoir of the Craft” by Stephen King (2000), used for writing tips and perspective

Linn Benton Community College, ENGLISH 104: Short Fiction, Instructor Jed Wyman, Fall 2013

How Albany Can Swing Citizen Approval For A New Fire Station

In the local paper, shortly after the lost vote for a combination bond funding a new fire house and a new police facility, the mayor was noticeably disappointed in the failed bond. "We'll be back," she said.

If the mayor wants a new fire station, that is entirely possible. Just separate the fire bond from the police objective. The voters of Albany know the importance of fire services, and are willing to support those efforts and services.

Separating the fire fund from police funds makes it possible to fund fire services and spark needed conversation about how police services act in regard to the public, and how departments spend public money. In the meantime, funding fire services is needed. Most likely, the city will try and spend money to win its agenda, as a vote on this matter is bound to reoccur.

Campus Security, a "cop" ideology, and an attitude the public is tired of.

In Albany, and across America, citizens are reluctant to finance a suspicious and discriminatory occupation. The mentality that police are the "protectors of freedom," is over. No longer is blind faith in a badge, the accepted norm. Increasingly, police departments are asked to be entirely accountable and less arbitrary.
 

In the past, Albany has had issues with rampant corruption across agencies that make up the local law enforcement web. A regional anti-drug team was disbanded, after massive corruption was exposed. Internal lawsuits within Albany Police has also exposed a climate of "above the law" ideology. One officer sued the department, winning a huge settlement and that policeman is still with the Albany Police, doing his job. There have been other lawsuits and complaints of inadequate policework along with discriminating policy. It would seem, APD has issues on both sides here.

Law enforcement is worth gold, when it is ethical and hard-working.

Fire and emergency services are also community's gold standard, but I cannot remember hearing about any crooked Albany firefighters. Fund this part of the city, as it is essential to community vitality.

 Money well spent.

Other complaints about certain Albany cops has led to an air of distrust, culminating in a lack of ambition to fund police activities. The times we live in, with "stop and frisk" being an available tool for law enforcement, has only helped to spur the gap in public/police relations.
 

To fix this distrust, and improve the quality of policing the places we live, is a two-step process. First, because needs apply, we need to separate fire and police funding. Simple as that.
 

Second, because many good cops go unrecognized in the hyped reports of police crookedness, repairing relations with the public, by way of better training and processes, should be the police department's first task. Sensitizing police and requiring higher standards of policework, will bring about a refound respect for law enforcement.

In Albany, relations with the public, have not been encouraging. Shoddy reporting and detective work, arbitrary patrol tactics, and a general lack of respect for the public by the police, has created a suspicious attitude about police.

One can look at southern Oregon as well, as law enforcement is unfunded in many areas. People do not entirely trust police, and addressing that fact is crucial to solving the problems within police department ideologies.

Part of the sensitivity problem is a lack of prioritizing skills, as the officer that took my complaint about Oregon Sex Offender GRAEM HROMAS, actually called my ex, and asked her if I could be involved. That officer, is still as incompetent as ever, and is now of some rank.

I have heard complaints about others as well, and studies on police tactics and discrimination point to an outdated I-am-going-to-get-to-the-bottom-of-this attitude. The mentality is power rules all, and police wield that power like a magic wand.

Even rock-solid cops lean towards loyalty. This "look the other way" line of thinking, further disrupts the quality of police departments. And in essence, is wrong. What we are saying is, don't tattle on the bully. Or else.

To avoid discussions of "stop & frisk," and "loyal" royalty, and to stem debate about "police state," embracing a progressive approach to law enforcement will help lead communities into the next generation.

As far as Albany's new cop shop, fund the fire department now, as voters want that service robust. In the meantime, let's look at Albany and her law enforcement, and let's ask, 

"How can we be more efficient, more ethical, and less dependent on intimidation?" 

It is not just police, of course, as the sort of self inquiry can lead to examining policy and belief. As Steven Pinker said, in the fabulous book, "Why Violence Has Declined, Better Angels Of Our Nature," it is not cool to bash folks anymore. I think Pinker used a different term, but you get my point.

In Portland, police abuse has had much publicity, as has Albany, but Portland addressed some issues, and has seen significant improvement in the last 18 months. One Portland officer told me, "I try not to be a hard ass, I pick my battles," and this habit leads directly to a less discriminating, less arbitrary, presence on the street.

In the end, over-suspicious and blatantly arbitrary law enforcement must be tamed. In a progressive state, where education and rehabilitation means more to community health, than do large jails, we should build foundations(fire dept.), only then we can address solving issues of real crime, which means less time "liming" the streets of Albany. A tactic approved by Albany Police, The City of Albany, and Oregon's own ODOT, and one of many overly aggressive approaches to homeless panhandling by the city itself. 

The area that was limed, to the right side of the street in the picture, and under the bridge between the pillars. Lime filled the entire slopes. This is an auto and pedestrian "high traffic" area, and some homeless are in fact, dangerous. Lime however, is not the answer, as lime burns skin and causes toxic health situations. A barbaric approach to "problem" homeless. I am doubtful that Albany's taxpayers would warrant such a method, or approve of lime blowing in the wind around their homes and small businesses.

 Albany wants these approaches to be remedied. The citizens of Albany, want and deserve, proper fire protection. Solve that issue now, by splitting from APD. And then tackle the problems of modern day law enforcement. Creating a sustainable community with viable relationships with police and community working together, is the goal. 

Boot drives for charity are well known locally, and Fire Department employees also have community safety programs for lifejackets and fire safety. APD also has community relations, of course, and these programs do very well. Officers are known at neighborhood schools and at bike safety seminars. The Albany Police Department does have its qualities. Building on those positives, will lead community voters in the direction of better local safety and a more efficient police station. 

Help bridge gaps between public and police. Let's make communities stronger and tighter connected, and more respectful. Put a plan in place to fund fire service, and outline a plan to help APD build upon solid building blocks, forming a better force in the city of Albany. Or anywhere, for that matter.

Ten Tips For Beginner Street Photography With A DSLR

Everybody is taking photographs these days. And with phone technology rapidly approaching "keeper photos" status, that trend is likely to continue.

If you are a person who appreciates higher quality photos than even the best smartphone can offer, then DSLR(digital single lens reflex) photography might be in your bag. With camera prices extremely affordable, it is time to learn how to shoot these "prosumer" cameras.

I own Canon gear, and for this tips column, I will focus on entry level EOS Rebel cameras, the consumer's DSLR. Mine is an older Rebel, the XTi. This camera is just that, a camera. No video, no HDR, no high ISO.

This camera, out there used for around $150, shoots at 10.1 megapixels, and has a fast shutter of 1/4000 second. The consumer Canons all come with "Scene" settings and the XTi is no different. Night Photos, Sports, Close-up, Landscape, and Portrait modes make the camera ultra versatile for a new user. Full Auto mode makes the XTi usable for anybody, including teenage kids.

To begin, a new DSLR owner should get to know the camera's functions, settings, and layout. Most Canons are similar, and the XTi has the On/Off Dial on the top, along with the scroll wheel. The scroll wheel functions as the adjuster for most settings. Hence, when in Aperture Priority, the scroll wheel changes the f-stop when turned.

Canon 7D with EF 50mm f1.4, Rexagon 135mm f2.8, and a Sunpak flash unit.

The Full Auto mode is where the beginner should start. Shoot in Full Auto while you learn about ISO speed, White Balance, Jpeg vs. Raw, and other advanced options. Shooting in auto mode will also help the new user to get used to the autofocus and shutter mechanism, as well as get the newbie photographer to "frame" shots.

It is important to relax when shooting, and doubly so for engaging the shutter mechanism. Get used to composing the picture(half shutter), waiting for focus recognition(beep and/or light), and getting the shot. Knowing how this all comes together, will increase accuracy, and will improve the quality of your photos.

As you get better at framing photos correctly, and as you become more comfortable with your camera, then the journey into manual settings begins.

Most DSLR cameras have similar functions, if different layouts. ISO, autofocus, white balance, and metering mode, are all functions one can expect to see on the back of most cameras in this class. Exposure compensation and shooting mode is also in the same area on my Canon XTi.

Canon XTi, top right.

As experience becomes usable, framing photos correctly will lead to using different kinds of light, anticipating shooting times, and being ready for action.

Early lessons in Full Auto mode, consist of filling the frame and seeing colorful photos ahead of shooting them. Lessons in white balance from simply observing images taken in differing light, can be priceless. Watch how your camera responds to bronzish light, fluorescents, and lowlight conditions like heavy cloud cover.

Observe shutter speed and its relation to aperture as well. The camera, and the photographer, if in tune to light and the correct settings, can produce gorgeous images. Let's take a look...


ISO

The ISO(International Standards Organization) refers to how the camera body responds to light. Even though many new cameras have higher than ever ISO capabilities, it is generally better to shoot at 100 to 400 ISO. And when experienced, ISOs of 1000 or so can produce nice images. The higher the ISO number, the more responsive the camera sensor is to light, so in daylight sun, ISO 100 is the norm. Cloudy days and low light are in the 400 ISO range, and extreme low light is 800 to 1600, but like I said, rarely if ever do I want to shoot 1600. Setting your ISO directly influences how the camera responds with shutter speed and aperture blades.

APERTURE

The aperture, called "f-stop," is the bladed diaphragm in the lens that opens and closes to light specifications. A small numbered aperture is actually a huge opening in the diaphragm. In accordance, a large numbered aperture is a pinhole effect, or a smaller opening.

As the aperture directs light, it also determines depth of field. A large opening, small numbered aperture, will have a compact depth of field, whereas the smaller aperture openings will have deeper depths of field, and this results in more of the frame being in focus. In short, f2.8 blurs backgrounds, and fll focuses the background as well as the foreground.

Like the ISO, the Aperture setting directly influences shutter speed. A closed f-stop will result in a slower shutter, because less light is getting to the sensor.

SHUTTER

The shutter opens and closes to expose the image. The photo is reliant on the shutter, to provide clarity and definition. Most photos need to be sharp, and the shutter is most responsible for that aspect. In these days of "shake" control, where Canon has "Image Stabilzer" and others have their own, newbie photogs forget(or never knew) that the length of the focal can be a reference for shutter speed.

The idea is to match the numbers, so if you are shooting a 100mm lens, to achieve handshake vibration control, the shutter has to be 1/100 second. If the lens is 50mm, then our shutter should be at least 1/50 second to achieve sharpness.

In Shutter Priority, the camera will react to your preset ISO and the shutter you set, to achieve the correct aperture. A fast shutter will open the f-stop.


Now that we know how to set up our gear, let's go do some street photography. For reading the manual thoroughly and for learning the basics of your DSLR, here are your Top Ten Beginner Tips For Street Photography:

1)   Before leaving the house, clean the gear. Mostly, this consists of wiping clean filters and lenses, with microfiber cloth. Always keep lenses and filters squeaky clean.

2)   Before shooting, determine your camera's settings based on surroundings. Set the camera up before shooting in the field.

3)   Compose every photo. Look in the viewfinder and assess the shot you are about to take. Is it metered correctly? Is it framed correctly? Is your depth of field desirable? The key here is to take your time and get a quality shot.

4)   Keep your eyes peeled. You might miss something.

5)   Don't be scared. You have rights to take candid street photos. Do not let anybody tell you different.

6)   Be polite. Sometimes, ask for a photo. Offer emailed photos. Be respectful!

7)   See color. Colorful scenes are a pleasure to the eyes, hunt for color and contrast. The key here also applies to backgrounds, as they are relevant to most photos. Find backgrounds that are dead, exposing your subject. Or backgrounds with color, that add to your image.

8)   Framing. Use the viewfinder to frame scenes for vivid and unbridled clarity. A photo that has wasted space or misses a key element is essentially much less of an image. And possible worthless. Fill the frame with the scene.

9)   Keep shooting! Street photography is in a constant motion, with things happening every moment. Capture your shots daily, and keep shooting.

10) Anticipate. See scenes before, or as they unfold. Be prepared to shoot them.

Some notes:

When advancing into manual settings, understanding the shutter and aperture will help to adjust to changing conditions in the field. For example, to catch action like sports or wildlife, using Shutter Priority with a 1/400 second shutter will eliminate blur. For a low light portrait, Aperture Priority will help isolate the subject while letting more light through the lens.

Use light and experiment with it. Shoot into light, shoot backlit subjects, and other varying light. Embrace light, however harsh at times.

Many new users of DSLRs, experience blur in their photos far too much. The shutter mode is perfect to solve this problem. Just remember the no-blur equation: For every 100 mm, a 1/100 second shutter speed is needed to eliminate blur. Assuming you can hold the lens still as well.

Understanding depth of field is critical to getting great photos. Realize that wide open apertures may not focus the entire scene, as their depth of field is shallow.

I shot NCAA college football the first weekend I owned the Canon XTI, with two kit lenses at that. Remember to shoot in Full Auto or Sports Mode when confronted with sports, or any fast action.When experienced, determine shooting mode based on personal taste.

When metering is hard, like when contrast between bright sky and children playing shade, is harsh and produces horrible photos, meter the shot against the sky, then recompose and shoot the scene. The "*" icon does this, when pressed during metering. You can also do this manually, by setting the metered settings yourself. Meter the bright sky, set the exposure in Manual Mode, and then brighten the shadows in post processing.

Windows Live Photo Viewer has a decent photo editor, as does Google Picasa, Yahoo Flickr, and other internet photo storage sites.

READ THE MANUAL!! I cannot stress how important this is. The Camera User Manual will teach you everything about the camera and its functions. Read it repeatedly.


SOME LINKS:

RonaldBorstJournalism on Flickr, some 2200 photos as of this writing.

Reviews,
Canon EF 28-135mm f3.5-5.6 IS USM
Canon XTi EOS Rebel

Street Stuff, an article from my blog about street shooting.

Lens Review: Canon Nifty Fifty Mark I

Second hand 50mm f1.8 for around $120 sounds like a good deal. Mint condition sounds awesome.

The Canon bargain lens, the EF 50mm f1.8, is indeed a bargain. Solid optics and image results, in tandem with the very open aperture, adds up to a dream. But the dream does come with limits, let's take a look.

Test shot with the EF 50mm f1.8 Mark I. Shot with a Canon XTi, an older 10.1 megapixel DSLR camera.

50mm lenses have limited uses, some say. And on a crop sensor camera, the naysayers point to the 80mm length as also limiting. I say no, and that the 50mm, no matter what version, is a great "walkaround" lens, on any camera, crop sensor or full frame.

If the lens is quality, then we can yell "Bingo!"

The lens has a metal mount and solid construction, considering its rank. The plastic body doesn't feel cheap. The Mark I version also has a "depth of field" window and manual focus, albeit not full time. The lens does extend during focusing, but does not rotate, making easy use for polarizers.

Autofocus is fast and snappy, and sometimes loud. But efficiency isn't hampered by the loud focusing, and this lens is capable of very nice images at fast speeds. The aperture at 1.8 isn't perfect, but it is very usable, producing nice bokeh and sharp images that are realistically rendered.

A new 50mm f1.8 direct from Canon will set you back $125.99, and the used versions are usually around a hundred bucks. The Mark I is priced a bit more, considering its build quality and depth of field window,and is usually around $130. It is well worth the money, as the lens provides much bang for the buck.

On my older Canon XTi, the lens combines for an ultra-light DSLR. I barely notice the thing when I am shooting street photos, and it fits into my coat pocket. The compact nature of this camera and lens is valuable for many reasons. As a tourist, it is an awesome choice, and takes up very little precious space. As a field camera, it is versatile and lightweight, as well as high resolution. On the street, it is tiny and ultra quality, although very noticeable. The XTi and 50mm, when utilized as a back-up camera, is compact and very capable.

The lens has a 52mm filter mount and the lens hood is the full bowl kind, not the flower petal design. Often, these extras come with a purchase, as mine came with both the full hood and a filter set.

Focus and speed remain constant throughout the aperture range, with awesome results in the middle. At f5.6 to f8, sharpness is very nice, and at open apertures, the depth of field and bokeh looks smooth if not buttery.

The image quality of the Canon "Nifty Fifty" is something to sing about. The lens produces very nice images, from the seat of my Canon XTi, in all situations. For speed, the wide aperture allows fast shutters, and for low-light, the aperture opens up to let light in, allowing for hand-held photos that are printable and enjoyable.

This lens gets four and a half stars, out of five. In my opinion, the lens outperforms my XTi in many spots. This lens would benefit from higher resolution and a full frame. This lens is awesome, and with its low price, the Canon EF 50mm f1.8, the "Nifty Fifty" is doubly awesome. Highly recommended.

IMAGES(from initial test):

Sunpak flash unit on a Canon XTi, EF 50mm f1.8. The Zeiss Ikon is from 1937, and featured a Nettar lens and Telma shutter.

The Canon EF 50mm f1.8 is outstanding, and is my lens-of-choice for an everyday, walkaround lens.

More recent photos:

1) Peoria Farmland

2) Car Ride Photo

3) Willamette Valley Farm In Autumn 
4) 1/1600 Second At 60 MPH
5) Talking Waters